Music 

Lib. 

MT 

920 

V66mu 


JSIC  APPRECIATION 


FOR 


JTTLE  CHILDREN 


''HIS  MASTER'S  VOICE" 
it:      U.S.PAT.OFF. 


THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


Mlb, 
UBRAKi 


MAKY   f.A   FKTKA    KIHSK1.I, 


"PIPE  AND  DECLARE  THE  UNQUENCHABLE  JOT  OK  KARTH' 


MUSIC  APPRECIATION 



FOR  LITTLE   CHILDRE 


IN  THE  HOME,  KINDERGARTEN,  AND 
PRIMARY  SCHOOLS 


Designed  to  meet  the  needs 
of  the  child  mind  during  the 
sensory  period  of  develop- 
ment; to  be  used  with  the 
Victrola  and  Victor  Records 


Educational  Department 
VICTOR  TALKING  MACHINE  COMPANY 

CAMDEN,  NEW  JERSEY,  U.  S.  A. 


Copyright,  1920,  by 

Victor  Talking  Machine  Company 

Camden,  New  Jersey,  U.  S.  A. 

International  Copyright 

Secured. 


Music 
Library 


TABLE  OF  CONTENTS 


FOREWORD 7 

PREFACE 9 

THE  UNIVERSAL  NEED  OF  Music  APPRECIATION.  .    12 

EDUCATION  THROUGH  Music 17 

THE  SUPERVISION  OF  Music  APPRECIATION 23 

BEGINNING  CULTURAL  HEARING 29 

RHYTHM 33 

SONG 47 

INSTRUMENTAL  Music 63 

SUGGESTED  LESSONS 82 

LESSON  BUILDING 100 

MAKING  THE  MOST  OF  A  RECORD 110 

CORRELATIONS 117 

PRIMARY  STORIES  AND  POEMS 139 

THE  BOYHOOD  OF  HANDEL 156 

THE  BOYHOOD  OF  MOZART 158 

THE  BOYHOOD  OF  MENDELSSOHN 161 

CALENDAR  OF  SPECIAL  DAYS 164 

CARDS  SUGGESTED  FOR  INDEXING  RECORDS 166 

INDEX..  ..169 


1&S5425 


There  is  sweet  music  here  that  softer  falls 
Than  petals  from  blown  roses  on  the  grass. 

— TENNYSON 


The  soul  of  music  slumbers  in  the  shell, 
Till  waked  an$  kindled  by  the  master's  spell; 
And  feeling  hearts— touch  them  but  lightly— pour 
A  thousand  melodies  unheard  before! 

— ROGERS 


FOREWORD 

The  world's  a  very  happy  place, 
Where  every  child  should  dance  and  sing. 

— SETOUN 

T  gives  me  sincere  pleasure  to  cooperate  with 
those  who  are  bringing  to  little  children  in 
the  public  schools  of  our  country,  oppor- 
tunities to  hear  the  great  music  of  the  world. 
It  is  a  well-known  fact  that  music  makes 
its  deepest  impression  in  the  early  years  of 
childhood.  While  the  capacity  of  little  children  for  listen- 
ing to  music  is  limited,  those  who  know  how  to  find  good 
music  which  will  make  a  genuine  appeal  at  this  period  in 
the  child's  development  are  rewarded  by  an  appreciation 
which  is  well  worth  the  effort.  In  the  period  of  early 
childhood  the  ear  is  easily  trained  and  neglect  at  this  time 
can  never  be  fully  made  up  by  any  amount  of  musical  edu- 
cation in  later  years. 

One  of  the  very  best  opportunities  to  develop  music 
appreciation  with  young  children  is  through  their  interest 
in  interpreting  the  appeal  of  music  through  motion.  At 
this  period  in  their  development  children  have  a  singular 
freedom  and  confidence  in  creating  their  own  interpreta- 
tions through  motions  and  steps  that  in  later  childhood 
seems  to  disappear.  If  this  confidence  and  creativity  are 
taken  advantage  of  at  the  right  period,  the  effect  becomes 
lasting,  and  a  real  contribution  is  made  to  their  musical 
education  for  all  time.  Unfortunately,  a  large  number  of 
musicians,  or  supervisors  of  music  in  public  schools,  over- 
look these  very  impressionable  years  and  provide  little  in  the 
way  of  training  for  the  kindergartens  and  the  first  grades. 

««9     7     eg* 


F  O  R  E  W  OKI) 


Through  the  efforts  of  Mrs.  Frances  Clark  and  others  in- 
terested in  theeducation  of  the  young  child,  childrenof  to-day 
may  have  an  opportunity  to  come  in  contact  with  the  very 
best  music  that  the  world  has  ever  produced.  Those  who 
are  willing  to  search  diligently  to  discover  music  suitable 
for  children  will  not  only  contribute  to  the  child's  present 
development,  but  will  lay  the  foundation  of  music  appre- 
ciation which  will  make  all  life  more  beautiful  and  enjoy- 
able. 

I  send  my  very  best  wishes  to  the  effort  which  this  little 
book  represents,  as  Mrs.  Clark  has  given  untold  time  in 
searching  for  the  best  that  music  can  provide  in  the 
education  of  the  children  in  our  public  schools. 

PROFESSOR  PATTY  S.  HILL 

Director  of  Lower  Primary  Education  (Kindergarten- Primary), 
Teachers'  College,  Columbia  University,  New  York. 


MAKT  LA  FETRA  Rl  SflEU. 


PREFACE 

HE  unprecedented  increased  interest  in  the 
study  of  music  appreciation  as  a  cultural 
subject  singularly  well  adapted  to  a  broadly 
democratic  presentation  of  the  art  of  music, 
which  has  been  proved  to  be  a  universal 
human  need,  is  rooted  in  the  development 
of  the  modern  talking  machine  and  records. 

Until  the  Victor  began  its  service  to  the  needs  of  the 
schools  and  brought  all  the  music  of  all  the  world  to  all 
the  children,  no  one  ever  dreamed  of  teaching  music 
appreciation  to  the  children  of  the  grades;  and  very  few, 
if  any,  had  made  any  headway  in  the  high  schools.  As 
the  work  has  progressed,  the  ecstasy  which  even  very 
little  children  have  shown  in  listening  just  to  listen  and 
listening  to  learn  has  electrified  many  older  hearts  and 
galvanized  into  action  hundreds  of  educators. 

In  the  beginning  of  this  new  use  of  music,  it  seemed 
quite  enough  that  the  children  should  march  more  orderly, 
play  games  to  real  music  instead  of  monotonously  chanting 
some  nondescript  tune  unaccompanied,  and  semi-occa- 
sionally  hear  a  few  selections  of  truly  great  music.  This 
is  no  longer  adequate,  nor,  indeed,  is  such  desultory  play- 
ing of  a  few  records  to  be  called  "music  study"  or  "music 
appreciation." 

If  America  is  ever  to  become  a  great  nation  musically,  as 
she  has  become  commercially  and  politically,  it  must  come 
through  educating  everybody  to  know  and  love  good  music. 
This  can  only  come  about  by  beginning  with  the  chil- 
dren, little  children,  at  the  mother's  knee  and  on  the 
kindergarten  circle,  and  so  surrounding  them  with  beauti- 


PREFACE 

ful  music  that  it  becomes  a  vital  part  of  education,  devel- 
opment, and  life,  instead  of  the  autumn  flowering  of  a 
stunted,  undeveloped,  sterile  bud,  to  be  seen  in  a  frantic 
grasping  at  "music  culture"  in  later  life. 

Millions  of  dollars  are  spent  each  season  in  madly 
rushing  to  concert  and  opera  in  a  vain  effort  to  make  up 
for  the  awful  deprivations  of  silent  early  childhood,  where 
the  proper  music  was  seldom  heard  and  never  understood. 
Thousands  of  people  pathetically  try  to  ''hear"  a  sym- 
phony or  tone  poem,  but  only  succeed  in  becoming  vastly 
wearied  by  a  mass  of,  what  is  to  them,  only  incoherent 
cacophony.  Having  ears  they  are  yet  unable  to  hear 
because  those  ears  missed  definite  training  in  childhood. 

The  tone-picture  falls  on  empty  canvas,  because  there 
is  no  imagery  rising  out  of  a  rich  experience  in  full-fed 
imaginings  of  scenes,  atmospheres,  moods,  painted  on 
memory's  walls  by  countless  other  former  stimuli  of  pictures 
in  tones.  The  language  of  Eliot's  Indian  Bible  or  the  tongues 
of  Babel's  Tower  are  not  more  lost  to  the  world  than  is 
the  language  of  music  to  the  unfortunate  millions  of 
Americans  who  have  grown  to  manhood  and  womanhood 
deprived  by  circumstances  from  hearing  it  during  the 
tender  years  of  youth.  These  conditions  are  no  longer 
tolerable  in  the  light  of  the  present  educational  awakening. 

If  music  is  an  educational  factor,  an  individual  and 
community  asset,  then  it  should  be  given  its  rightful  place 
in  the  curriculum  of  our  lower  schools  and  kindergartens, 
no  less  than,  indeed  much  more  than,  in  the  high  school 
and  college,  where  it  has  won  a  foothold,  precarious  because 
of  this  very  lack  of  foundational  work  in  the  elementary 
schools. 

Because  we  believe  that,  next  to  reading  and  writing, 
music  is  the  greatest  single  factor  in  educational  processes, 

«»  10  «» 


PREFACE 

and  because  we  realize  that  teachers  everywhere  are  reach- 
ing out  for  definite  instruction  and  direction  in  this  larger 
use  of  music  itself,  and  also  as  a  powerful  leaven  to  lighten 
the  whole  mass  of  instruction, — as  a  beautiful  pollen  which 
brings  to  fruitage  every  flower  of  child-mind, — we  present 
this  plan  of  work. 

To  assist  thoughtful  parents  and  earnest  teachers  to 
use  music  in  this  broadly  cultural  yet  eminently  practical 
way,  it  is  hoped  that  this  book  will  be  found  helpful. 
However,  it  will  be  found  most  satisfactory  when  used  by 
the  progressive  music  supervisor  as  an  aid  to  his  or  her 
general  plan  of  work. 

It  contains  explicit  instructions  for  using  a  splendid 
selection  of  simple,  yet  most  beautiful,  music  for  children 
during  the  sensory  period. 

Music  should  be  the  concomitant  of  every  day's  expe- 
rience in  a  child's  life  at  home  and  in  school, — not  only  in 
the  music  period,  but  permeating  every  phase  of  his  activ- 
ity and  development.  The  need  is  great,  and  the  material 
offered  with  the  Victrola  and  Victor  records  is  rich  in 
volume,  usefulness,  and  adaptability.  If  we  have  pointed 
out  the  road  for  the  millions  of  American  children,  and  if 
we  have  led  the  way  to  a  new  field  of  the  child's  fairyland 
which  shall  grow  with  him  to  manhood's  most  beautiful 
playground  of  the  soul,  our  highest  hopes  will  have  been 
fulfilled. 

The  work  is  a  composite  of  almost  the  entire  Depart- 
ment. A  large  part  of  the  work  was  done  by  Miss  Edith 
M.  Rhetts.  Especial  thanks  are  also  due  to  the  Misses 
Grace  Barr,  Margaret  Streeter,  Grazella  Puliver,  Mabel 
Rich,  and  the  Messrs.  S.  Dana  Townsend  and  Raymond 
Brite. 

FRANCES  ELLIOTT  CLARK 

«»    11    aos 


THE  UNIVERSAL  NEED  OF  MUSIC 
APPRECIATION 


BRAHAM  LINCOLN  said,  "The  Lord  must 
have  loved  the  common  people — He  made 
so  many  of  them."  What  phase  of  music 
education  is  open  to  the  masses  of  our  great 
democracy? 

It  has  often  been  said  that  there  are 
three  classes  of  musicians.  There  are  a  very  few  who 
create  music;  a  larger  number  who  perform  it,  some  of 
whom,  as  has  humorously  been  said,  "execute  it " ;  and  that 
great  class  who  listen  to  it. 

In  these  days  almost  every  one  must  hear  music 
whether  he  wills  it  or  not.  He  can  hardly  escape  it.  If 
he  goes  to  church,  to  the  theatre,  moving  pictures,  politi- 
cal meetings,  or  almost  any  place  where  people  are  gathered 
together,  there  is  music  of  some  kind,  be  it  good,  bad,  or 
indifferent.  If  every  one  could  be  educated  to  appreciate 
the  better  music,  a  public  sentiment  would  therefore  be 
created  which  would  demand  good  music.  It  would  have 
a  definite,  even  a  revolutionary,  bearing  upon  the  quality 
of  music  which  would  be  found  on  programmes  every- 
where. 

We  are  concerned  at  this  time  with  the  development 
of  the  power  to  grasp  and  to  enjoy  intelligently  good  music. 
It  would  be  interesting  if  statistics  could  be  compiled 
from  adults  perhaps  ten  years  after  graduation  from  school. 
How  many  would  be  found  creating  music  as  a  result  of 
their  music  training  received  in  public  school?  In  all 
probability  none  among  present-day  adults,  but  the  time 
is  not  far  distant  when  some  of  the  excellent  harmony 

va>  12  *°* 


UNIVERSAL    NEED 


courses  now  in  operation  in  a  few  schools  may  definitely 
bear  fruit  in  creators  of  music.  Much  is  being  done  to 
discover  creative  musical  talent  in  America,  to  educate 
such  talented  ones,  and  to  give  our  American  composers 
full  recognition.  But  the  creators  must  always  be 
the  few. 

How  many  are  performing  music  as  a  result  of  their 
training  received  in  school?  The  very  greatest  strides 
have  been  made  recently  in  public  school  music.  Choral 
societies  as  an  outgrowth  of  school  singing  are  functioning 
in  life,  and  hundreds  of  the  youth  of  many  cities  are  receiv- 
ing instruction  in  voice,  piano,  violin,  and  other  instru- 
ments, all  of  which  will  have  a  wonderful  effect  in  a  few 
years.  But  can  even  the  most  optimistic  ones  predict  that 
the  majority  of  our  people  will  ever  reach  artistic  per- 
formance in  real  life? 

And  again,  how  many  are  listening  to  music?  Mani- 
festly all!  This  great  body  of  listeners  includes  not  only 
the  great  majority  who  will  perhaps  forever  remain  in 
the  listeners'  class,  so  far  as  the  hope  of  technical  perform- 
ance of  music  is  concerned,  but  also  all  those  classified  as 
performers  and  creators. 

Is  it  not  a  strange  and  paradoxical  fact  that  the  only 
phase  of  music  which  can  affect  the  life  of  every  child  is 
receiving  the  least  attention  of  all?  The  public  school  is 
"Everyman's  University,"  and  one  needs  to  ask:  "Is  the 
music  of  this  great  democracy  to  be  adapted  to  the  many 
or  the  few?" 

Music  appreciation  is  all  too  often  made  a  subject  for 
the  so-called  musical  students  only.  One  sometimes  finds 
it  offered  as  a  third-year  high-school  music  course  open 
only  to  those  who  have  successfully  passed  examinations 
in  scales,  notations,  rudiments  of  music,  melody  writing, 

•»•  13  MM 


MUSIC    APPRECIATION 


and  elementary  harmony  in  the  previous  two  years.  Then 
likewise  should  we  withhold  the  reading  of  good  books 
from  those  who  cannot  write  poetry  or  essays?  Should 
we  not  be  lifted  out  of  sordid  materialities  by  the  sight  of 
an  autumn  woods  until  we  have  botanized  them? 

The  love  and  intelligent  enjoyment  of  music,  for  both 
the  musical  and  the  so-called  unmusical,  is  the  beginning 
and  the  end  of  music  appreciation  as  such.  It  is  axiomatic 
that  we  can  neither  love  nor  desire  to  study  that  with  which 
we  have  no  acquaintance  and  for  which  we  have  no 
taste. 

Music  is  the  language  that  begins  where  the  power 
of  the  spoken  word  ends,  and  its  power  functions  in  the 
nation,  the  community,  the  home,  and  the  inner  heart  of 
the  individual. 

Every  patriotic  American  of  whatever  ancestry  realizes 
now,  as  never  before,  the  needs  to  amalgamate  all  the 
people  into  a  national  unity  of  calm,  sane,  unswerving 
loyalty,  and  to  awaken  them  to  a  realization  of  the 
responsibilities  of  their  American  citizenship. 

There  is  no  medium  so  attractive,  sure  and  efficacious 
for  this  need  as  Music.  There  is  nothing  so  universal  in 
its  appeal  as  Music.  Through  Music,  we  can  meet  every 
newcomer  to  our  shores  on  common  ground,  and  through 
it  we  can  touch  the  magic  chord  of  their  love  of  their  folk 
arts,  and  by  leading  them  to  a  knowledge  of  American 
songs  and  dances  bring  them  to  an  appreciation  of  Ameri- 
can ideals,  sentiments,  institutions,  and  history. 

It  is  a  hopeful  sign  that  a  few  great  industrial  centers 
are  utilizing  this  great  power  to  solve  our  peace  problems. 
Music  lifts  the  tired  worker  above  his  weariness  and 
grind,  above  his  sordid  count  of  the  daily  stipend,  above 
his  ofttimes  sullen  antagonism  to  all  things.  It  lifts  him 

'**>    14    ten 


UNIVERSAL    NEED 


into  peace,  contentment,  hopefulness,  joy,  and  happiness, 
which  attributes  go  far  toward  making  him  a  better 
worker,  a  better  citizen,  a  better  man  or  a  better  woman, 
mentally,  morally,  and  spiritually. 

Music  is  one  of  the  most  powerful  factors  in  the  world 
in  creating  and  cementing  the  group  feeling,  and  its  enjoy- 
ment at  home  brings  an  added  tie  to  the  fireside.  With 
apology  to  Longfellow: 

Between  the  dark  and  the  daylight, 
When  the  night  is  beginning  to  lower, 

Comes  a  pause  in  the  day's  occupations 
That  is  known  as  the  family  hour. 

The  community  and  the  family  are  collections  of  indi- 
viduals, and  any  great  movement  which  affects  them  does 
so  because  fundamentally  it  affects  the  individual. 

Education  is  valuable  in  proportion  to  its  bearing  upon 
life.  The  only  phase  of  musical  education  which  has  uni- 
versal application  is  music  appreciation. 

Teaching  of  all  kinds  is  entirely  too  much  devoted  to 
getting  ready  for  examination.  We  take  the  first  year  to 
get  ready  for  the  second  year,  to  get  ready  for  the  third 
year,  and  so  on  until  finally  all  too  often  music  is  left  out 
of  high  school  because  it  does  not  get  us  ready  for  college. 

American  schools  have  been  very  busy  with  vocational 
education,  as  the  nation  itself  has  been  occupied  with 
industry,  but,  for  some  reason  or  another,  all  our  national 
efficiency  has  not  brought  us  simple  happiness.  One  can- 
not but  recall  Wordsworth's  words: 

The  world  is  too  much  with  us;  late  and  soon, 
Getting  and  spending,  we  lay  waste  our  powers. 

The  sea  that  bares  her  bosom  to  the  moon, 
The  winds  that  will  be  howling  at  all  hours, 
But  are  upgathered  now  like  sleeping  flowers; 

For  this,  for  everything  we  are  out  of  tune. 

"T*    15    tan 


MUSIC    APPRECIATION 


The  Greatest  Teacher  once  said,  "Man  cannot  live 
by  bread  alone."  And  in  all  our  hearts  there  is  that  urge, 
that  proof  of  immortality,  which  makes  it  not  enough  that 
we  should  live,  but  demands  that  we  should  live  more 
abundantly;  and  an  attempt  to  prove  that  music  has  a 
vital  place  in  the  more  abundant  life  would  be  like  proving 
an  axiom. 

The  Indian  plowed  the  earth,  planted  and  watered  the 
seed,  and  then  sang  to  the  Great  Spirit  to  grant  the  har- 
vest. Song  has  been  a  medium  through  which  all  people 
of  all  races  and  all  religions  have  carried  their  desires  to 
the  Great  Unseen,  and  all  of  us  have  somewhere,  some- 
time, been  lifted  a  little  while  out  of  our  material  limitations 
and  carried  beyond  our  mundane  realm  on  wings  of  song. 

Time  was  when  music  was  a  luxury  available  only  to 
the  wealthy  and  the  talented  few,  or  limited  to  the  ability 
of  the  struggling  amateur.  The  advent  of  sound-repro- 
ducing instruments  suddenly  released  it  from  the  expensive 
grand  opera  houses,  from  the  symphony  halls  of  the  large 
cities,  and  the  haunts  of  the  few,  and  spread  it  over  the 
country. 

It  is  a  wonderful  dream  come  true  that  the  schools  all 
over  our  land  may  really  hear  music;  that  the  homes  of 
the  masses  are  happier  through  the  power  of  music  and 
that  even  into  the  silence  of  the  great  spaces  in  remote 
places  the  Victrola  may  take  the  greatest  artists  and  sym- 
phony orchestras  of  the  world: 

What  kind  of  music  will  these  millions  hear?  What 
shall  they  be  able  to  enjoy?  The  public  schools  must 
answer.  They  may  open  vistas  of  beauty,  and  provide  a 
guide  for  recreation  hours,  and  an  avenue  of  happiness  that 
shall  abide  through  life. 

Surely  such  an  aim  and  end  is  worth  while. 
"»  16  «*> 


EDUCATION  THROUGH  MUSIC 

Good  music  is  a  vital  element  in  the 
education  of  the  people. 

—P.  P.  CLAXTON. 

T  has  been  discovered  that  music  possesses 
undreamed  of  powers  as  education  entirely 
aside  from  its  inherent  beauty  and  appeal 
as  an  art.  The  Victrola  and  Victor  records 
have  brought  into  the  schools  a  wealth  of 
material  which  has  transformed  the  teach- 
ing of  public  school  music.  They  have  made  possible  the 
study  of  musical  instruments  and  instrumental  music; 
a  first-hand  acquaintance  with  folk  music  of  all  lands; 
and  the  study  of  opera,  oratorio,  and  the  masterpieces  in 
song  and  symphony. 

The  generally  accepted  meaning  of  the  phrase  "study- 
ing music"  is  that  "John  has  been  given  piano  lessons" 
or  that  "Dorothy  is  taking  vocal." 

The  study  of  music  involves  much  more  than  learning 
to  play;  indeed  one  may  "take  lessons,"  and  glibly  read 
by  syllables,  and  if  these  alone  have  represented  MUSIC 
to  him,  little  has  been  done  to  stimulate  those  faculties 
alluded  to  as  "education." 

What  sins  have  been  committed  only  the  flotsam  and 
jetsam  along  the  way  of  unmusical  middle  life  can  reveal. 
The  physical  condition  of  the  cartilages  of  the  child  throat 
prohibits  any  but  the  most  simple  vocal  expression  in  early 
childhood.  The  weakness  and  uncertainty  of  the  digital 
muscles  and  the  slow  development  of  the  coordination  of 
mental  control  and  muscular  response,  renders  piano 

«»    17    «cr- 


MUSIC     APPRECIATION 


study  impractical,  in  any  but  a  wonder-child,  before  the 
age  of  five,  six  or  seven. 

But  what  of  the  ear  at  this  period?  It  is  at  its  zenith. 
That  "little  pitchers  have  big  ears"  is  literally  true.  The 
ear  is  alert  almost  from  birth,  and  a  child  of  even  a  few 
months  will  almost  invariably  give  evidence  of  pleasure  at 
hearing  music  softly  played  or  sung  and  will  give  some  sort 
of  rhythmic  response.  From  three  to  eight  years  of  age, 
the  sensory  period,  the  ear  is  keen  and  active.  Why,  then, 
not  follow  this  direct  guidance  of  nature  itself? 

Why  not  teach  songs  beautifully  with  'cello,  harp,  or 
violin  accompaniment?  Or  why  not  permit  the  children 
to  become  familiar  with  the  minuets  of  Haydn  and 
Beethoven,  the  gavottes  of  Gluck  and  Mozart,  the  beauti- 
ful lullabies,  the  Humoresque,  Traumerei,  Le  Cygne,  etc., 
making  them  their  own  for  life,  and,  at  the  same  time, 
stirring  and  stimulating  mental  processes  that  are  imme- 
diately reflected  in  every  branch  of  study  and  functioning 
in  every  phase  of  development? 

Music  is  an  activity  not  to  be  approached  in  the  spirit 
of  mental  idleness.  It  is  also  an  art  of  sound  which  can 
never  be  appreciated  through  the  eye.  We  are  so  thor- 
oughly eye-minded  that  we  rarely  depend  on  the  sense  of 
hearing.  If  a  child's  latent  aural  and  rhythmic  faculties 
are  not  wisely  cultivated  at  an  early  age,  difficulties  in  the 
way  of  real  music  perception  increase. 

There  is  no  branch  of  music  or  any  other  subject  whose 
study  will  yield  greater  returns  in  mental  habits  of  alert- 
ness, perception,  and  concentration  than  will  intelligent 
and  purposeful  listening  to  music.  The  power  of  listening 
is  used  not  only  in  the  music  appreciation  period,  but  the 
teachers  of  all  other  subjects  will  tie  most  grateful  for  the 
formation  of  the  listening  habit.  The  elusiveness  of  music 

•sx    18    -ss> 


EDUCATION  THROUGH  MUSIC 

demands  an  exercise  of  quick  perception  and  retentive 
memory  and  its  attractiveness  stimulates  the  desire  to 
think  about  what  we  hear. 

Any  teacher  of  music  appreciation  could  cite  specific 
cases  of  the  illuminating  effects  of  this  subject  upon  the 
individual  that  are  convincing  and  inspiring.  Individuals 
who  were  slow  to  think,  who  had  little  imagination,  and 
whose  experiences  were  barren  of  the  beautiful,  have  de- 
veloped a  mental  alertness  that  has  improved  all  their  work 
in  other  subjects  and  an  appreciation  of  the  beautiful, 
which  will  be  to  them  a  perennial  well-spring  of  joy. 

Fortunate,  indeed,  are  those  to  whom  this  experience 
may  come  in  early  childhood  that  it  may  serve  as  a  leaven 
in  the  formation  of  all  of  their  tastes. 

The  modern  educator  feels  that  all  good  teaching  must 
draw  from  the  child  the  response  that  arises  out  of  his  own 
experience,  imagination,  and  thought,  guided  and  led  on 
to  the  acquirement  of  the  new  concept  which  it  is  desired 
to  teach. 

The  new  teaching  of  music  must  confine  itself  to  the 
same  law  of  pedagogy,  observing  the  best  and  latest 
discoveries  in  the  natural  development  of  the  child  mind. 
To  this  end,  then,  little  children  should  first  be  given 
real  music  itself,  years  before  they  are  asked  to  master  the 
symbols  of  the  printed  form,  the  rules  of  the  grammar  of 
its  language,  or  the  technique  of  performing  it. 

Music  should  be  heard  in  infancy  and  early  childhood 
as  language  is  heard,  and  later  studied  in  exactly  the  same 
way.  First,  the  child  should  listen  just  to  listen,  then 
listen  to  learn,  exactly  as  he  first  hears  language  all  about 
him,  then  listens  intently  to  try  to  imitate  the  spoken 
words  and  to  comprehend  the  meaning  of  a  wide  vocabu- 
lary which  he  may  later  use.  Then,  and  not  until  then, 

«x>    19    een 


AGE  OF  INNOCENCE 


EDUCATION     THROUGH     MUSIC 

does  he  learn  to  read  the  page  to  add  to  his  store  of 
knowledge. 

Music  to  be  presented  to  a  little  child  must  first  be 
beautiful.  Secondly,  it  must  possess,  in  addition,  some 
intrinsic  feature  of  educational  value.  Thirdly,  it  must  be 
presented  in  such  manner  and  through  such  media  as 
are  suitable  and  proper  for  the  developing  power  of  the 
child,  and  which  follow  in  some  degree  the  stages  of  prog- 
ress of  the  race  in  using  music  as  a  means  of  expression. 

Rhythm  is  older  than  language.  First,  therefore,  we 
must  incite  to  free  self-expression  through  simple  melody 
very  strong  in  rhythmic  effects,  played  by  a  single  instru- 
ment or  the  combination  of  a  few  instruments  directly 
descended  from  early  forms  of  percussion,  string,  and  wind 
types. 

The  child  should  be  encouraged  to  express  in  some 
bodily  activity  his  own  reaction  as  to  what  he  thinks  or 
feels  that  the  music  is  saying  to  him.  Each  child  should 
be  perfectly  free  to  react  in  his  own  way — regardless  of  the 
ideas  of  the  others.  The  tremendous  awakening  gained  in 
cultivating  the  imaginative  and  discriminative  powers  by 
the  use  of  descriptive  and  imitative  music  cannot  be  over- 
estimated. 

The  knowledge  that  music  can  tell  a  story  or  describe 
something  as  words  do,  or  imitate  some  sound  in  nature, 
opens  at  once  a  new  world  of  thought  and  opportunity. 
In  this  field  some  teachers  will  prefer  to  tell  the  story  in 
whole  or  in  part,  leading  the  pupil  to  discover  just  where 
the  music  tells  a  certain  fact  or  fancy.  Others  will  like 
best  to  draw  a  word  picture  of  the  scene,  situation,  mood, 
or  feeling  depicted  and  let  the  children  discover  for  them- 
selves the  points  of  the  story  in  tone,  bringing  out  by 
adroit  questioning  the  "sweet  reasonableness"  of  why 

ejfK   21    tan 


MUSIC     APPRECIATION 


the  music  must  be  loud  or  soft,  high  or  low,  even  or  jerky, 
smooth  or  vigorous,  flowing  or  in  long  jumps,  graceful  or 
sturdy,  peaceful  or  crashing,  etc.,  if  it  is  truthfully  to  tell 
the  given  or  suggested  story.  Still  others  will  wish  to 
leave  the  children  entirely  to  their  own  imaginations,  to 
evolve  a  story  of  their  own  making.  By  dint  of  setting 
the  children  arguing  for  their  reasons  for  these  particular 
interpretations — all  the  special  points  of  the  music  may 
be  brought  out,  as  one  has  heard  one  thing,  one  another, 
and  the  sum  finally  makes  up  the  complete  story. 

If  then,  through  Music  we  can  secure  that  rapt 
attention  of  the  children  which  engenders  interest,  leading 
to  'participation,  expression,  and  interpretation,  we  have 
begun  a  real  educational  process  which  is  often  sought  in 
vain  through  other  media. 

The  Great  War  brought  music,  because  of  its  service, 
to  the  attention  of  all  our  people  as  never  before.  It 
remains  for  the  educator  to  seize  the  psychological  moment 
of  interest  to  inaugurate  a  real  course  in  the  study  of 
music  and  further  make  it  serve  his  purpose  in  the  educa- 
tion of  his  youthful  charges  by  using  music,  not  only  to 
relieve  tension,  delight  the  dullest,  cheer  the  sulky,  calm 
the  neurotic,  and  exhilarate  the  sluggish;  but,  at  the  same 
time,  to  arouse  sense  perception,  secure  mental  discipline, 
emotional  response,  keen  interest,  and  concentration, 
through  which  one  may  give  information  and  instruction, 
stimulate  the  imagination,  and  develop  the  powers  of 
discrimination  and  selection.  This  is  REAL  education. 


THE  SUPERVISION  OF  MUSIC 
APPRECIATION 

PLAN— MATERIAL— METHOD 

BIRD'S-EYE  view  of  the  United  States 
reveals  a  great  diversity  in  the  supervision 
of  music  appreciation,  ranging  from  the 
very  few  cities  which  maintain  a  special 
supervisor  for  that  subject,  through  the 
places  where  the  work  is  handled  by  the 
music  supervisor,  or  the  principal  of  the  school,  to  miscel- 
laneous work  on  the  part  of  the  grade  teacher. 

Regardless  of  who  may  execute  the  plan,  it  is  of  prime 
importance  that  there  be  a  well-built  plan.  No  doubt  the 
prime  reason  for  the  almost  universal  cry  of  "no  time  for 
appreciation"  is  due  to  two  facts.  First,  that  the  super- 
visor has  her  well-formed  plan  of  sight  reading,  etc.,  but 
the  appreciation  work,  as  such,  while  accomplishing  much 
in  general  love  and  culture,  has  failed  to  interlock  with 
the  so-called  "regular"  course.  Secondly,  the  supervisor  and 
school  authorities  do  not  realize  that  one  lesson,  out  of  four 
or  five,  taken  for  appreciation  work  with  its  resultant 
capacity  to  feel,  to  know,  and  to  love  music,  and  its  inevi- 
table aftermath  of  keener  attention  and  sharpened  wits  is 
not  time  off,  but  decidedly  on  the  subject. 

The  mere  playing  of  music,  be  it  ever  so  entertaining 
and  delightful,  is  not  necessarily  educational.  A  music 
appreciation  course  should  be  so  carefully  planned  and  pur- 
posefully given  as  to  demand  the  same  respect  now  given 
by  educators  to  courses  in  literature. 

The  number,  length,  content,  and  general  purpose  of 
the  lessons  should  be  so  adjusted  as  to  be  an  integral  part 

•s*  23  & 


MUSIC    APPRECIATION 


of  the  regular  music  work  of  the  school,  and  in  no  sense  an 
extra  barnacle-like  attachment  to  the  outside  of  the  regu- 
lar music  work  in  a  sort  of  catch-as-catch-can  manner. 

It  has  been  thought  that  in  most  schools  where  there 
are  five  music  periods  a  week,  one  of  them  might  well  be 
devoted  to  this  work.  The  mental  grasp  of  the  whole 
subject  wrill  be  so  greatly  stimulated  that  the  routine  work 
of  the  five  periods  as  previously  taught,  may  easily  be 
covered  in  four,  and  the  joy  and  breadth  of  the  study  of 
real  music  added  without  extra  time. 

We  have,  therefore,  suggested  thirty-two  lessons  each, 
for  grades  one,  two  and  three,  conforming  to  the  usual 
school  year  of  nine  months,  allowing  for  deduction  of  the 
first  and  last  weeks,  the  end  of  the  first  semester,  and 
Christmas  holiday  preparation  weeks. 

If  only  one  appreciation  lesson  in  two  weeks  can  be 
arranged,  then  the  course  will  be  sufficient  for  two  years' 
work,  or  it  may  be  shortened  to  sixteen  lessons,  although 
much  value  will  be  lost  in  omitting  illustrations. 

Three  lessons  each  for  kindergarten,  first,  second,  and 
third  grades,  have  been  written  out  in  detail — supplying 
an  actual  suggested  presentation.  For  the  remaining 
twenty-nine,  we  have  merely  selected  material  and 
grouped  it  into  suggested  lessons  under  the  title,  "Lesson 
Building,"  leaving  it  to  the  teacher  to  study  the  presenta- 
tion of  each  number  as  it  appears  treated  elsewhere  in  the 
book,  under  songs  or  instrumental  music,  as  the  case  may 
be. 

The  kindergarten  teacher  has  so  much  freedom  in 
using  the  record  material  in  rhythm,  story,  rest  period, 
etc.,  etc.,  beyond  the  limitation  of  a  given  music  period, 
that  we  have  thought  best  to  give  only  the  three  suggestive 
model  lessons,  allowing  the  kindergarten  teacher  to  range 

tan    24    far> 


SUPERVISION 


more  widely  through  the  wealth  of  material  suggested, 
selecting  it  and  adapting  it  to  her  individual  plans  and 
purposes. 

An  appreciation  course  should  serve  the  cause  of 
education,  hand  in  hand  with  the  other  subjects.  One 
hears  on  every  hand  an  unanswered  and  ofttimes 
unanswerable  question:  "Where  can  we  get  time?"  Let 
us  ask  for  a  change:  "Where  can  we  give  service?" 

The  kindergartens  are  working  with  rhythmic  develop- 
ment. Does  the  music  supervisor  take  time  to  know  what 
music  they  are  using, — perhaps  to  select  it  or  even  teach  it? 

The  physical  training  teachers  are  teaching  calisthenics 
and  folk  dancing.  Are  they  doing  it  to  the  right  music  and 
rhythmically,  or  is  it  mere  physical  routine?  The  physical 
training  department  needs  the  rhythmic  development  just 
as  much  as  the  music  department,  and  the  interest  of  the 
music  teacher  in  all  these  and  also  in  reading,  nature 
study,  and  many  other  departments  will  react  for  her  like 
bread  cast  upon  the  waters. 

The  record  list  will  be  found  to  be  fairly  conservative, 
owing  to  the  many  uses  of  each  record,  many  being  used 
again  and  again  in  different  wrays  from  different  points  of 
view  and  for  different  purposes. 

In  the  recording  of  primary  material,  every  effort  has 
been  made  to  give  the  greatest  amount  of  valuable  material 
on  the  fewest  number  of  records,  so  that  expense  may  be 
minimized  though  the  offerings  are  enriched. 

It  would  be  ideal  if  every  school  building  could  own  a 
complete  library  of  records.  However,  circulating  libra- 
ries have  been  found  to  give  excellent  satisfaction. 

Some  cities  have  thought  it  wise  to  let  material  revolve 
within  a  certain  district  only,  with  duplicate  sets  moving 
simultaneously  in  other  districts. 

fjfK    25     ^^ 


MUSIC     APPRECIATION 


The  best  plan  yet  evolved  is  that  every  school  have 
its  own  small  but  standard,  well-selected  library  of  records, 
which  may  be  at  hand  at  all  times,  to  include  marches, 
folk  dances,  songs,  etc.  This  is  then  augmented  by 
supplementary  material  sent  in  the  circulating  boxes. 
A  central  library,  kept  in  the  Board  of  Education  offices, 
with  regulation  loan  privileges  to  the  schools,  is  another 
way  of  increasing  the  school's  supply. 

The  director  in  charge  should  adapt  one  of  these  sug- 
gested plans  for  record  equipment  to  the  needs  and  possi- 
bilities of  his  or  her  own  city. 

There  are  almost  as  many  ways  of  teaching  apprecia- 
tion as  there  are  people  teaching  it,  and  owing  to  the  new- 
ness of  the  subject,  the  scope  of  material  available,  and  the 
dissimilarity  of  personalities,  the  presentation  of  music 
appreciation  may  never  be  reduced  to  an  absolute  science. 
But  there  are  certain  fundamental  principles  to  which  we 
must  adhere,  and  in  spite  of  all  allowances  for  the  elusive- 
ness  of  our  subject  and  breadth  of  our  possibilities,  there 
are  certain  definite  ends  to  achieve  and  mistakes  to  avoid. 
In  the  first  place,  it  should  be  clearly  understood  that 
the  beginning  and  the  end  of  music  appreciation  for  little 
children  is  that  the  musical  and  the  so-called  unmusical 
alike  shall  experience  and  love  MUSIC  ITSELF. 

If  one  is  enjoying  the  odor  of  a  beautiful  rose,  his 
enjoyment  is  not  increased  because  someone  says  the  rose 
is  fragrant.  Just  so,  it  is  of  paramount  importance  that 
the  teacher  should  not  separate  the  child  from  the  music 
by  too  much  talk.  Let  the  music  itself  talk. 

There  are  many  legitimate  ways  of  stimulating  and 
leading  a  child's  imagination,  of  heightening  his  eagerness 
for  and  enjoyment  of  music  through  stories  and  questions, 
but  it  would  be  unwholesome  to  train  him  to  expect  that 

«»  26  «» 


SUPERVISION 


there  must  always  be  an  exciting  story,  or  that  he  is  always 
to  do  something  or  imagine  definite  things.  It  is  just  as 
necessary  that  he  should  sometimes  have  practice  in  quiet 
enjoyment,  and  that  concert  etiquette  be  observed,  though 
the  miniature  concert  number  be  but  one  minute  in  length 
and  the  singer  "Mother  Goose." 

A  cramming  of  facts  about  music  is  often  confused  with 
music  appreciation.  One  might  know  that  Beethoven  was 
afflicted  with  deafness,  and  Schubert  died  at  the  age  of 
thirty-three;  in  short,  one  might  memorize  a  Grove's 
Dictionary,  if  necessary,  without  increasing  his  apprecia- 
tion of  a  symphony,  or  learning  to  love  the  more  an  art  song. 

Very  little  information  need  be  given  at  this  time,  and 
guidance  should  be  as  much  as  possible  in  the  direction  of 
skillful  questioning,  intended  to  arouse  the  pupil's  own 
thought  power. 

The  children's  response  will  be  a  safe  test  as  to  the  cor- 
rectness of  one's  methods  and  material.  If  they  are 
attracted  and  held  in  a  happy,  orderly  enjoyment,  the 
teacher  may  know  she  is  started  on  the  road  that  leads  to 
intelligent  appreciation  of  music. 

In  response  to  literally  thousands  of  requests,  the  Victor 
Educational  Department  offers  this  definite  plan  for  appre- 
ciation work  in  the  home  and  primary  grades. 

It  should  be  the  duty  of  the  person  in  charge  of  the 
appreciation  work  for  city  or  building  to  hold  teachers' 
meetings  to  study  the  plan  together;  to  assist  teachers  who 
need  help  in  understanding  and  teaching  the  plan,  and  to 
give  model  lessons  when  necessary. 

After  thoroughly  testing  all  the  details  of  this  plan,  we 
feel  absolutely  sure  that  the  well-suited,  attractive  mate- 
rial will  itself  bring  instant  and  eager  response  from  the 
children  and  teachers  alike. 

•-«>  27  «« 


BEGINNING  CULTURAL  HEARING 

A  thing  of  beauty  is  a  joy  forever: 
Its  loveliness  increases:  it  will  never 
Pass  into  nothingness:  but  still  will  keep 
A  bower  quiet  for  us,  and  a  sleep 
Full  of  sweet  dreams,  and  health  and 
quiet  breathing. 

— KEATS 

VN  has  many  rights  and  blessings  and  none 
greater  than  his  inborn  love  of  the  beautiful. 
In  the  little  child  this  birthright  is  fresh  and 
alive,  and  it  is  imperative  that  we  should 
nurture  and  tend  this  precious  impulse  while 
we  may,  that  he  may  not  reach  maturity 
to  find  it  stunted  and  dwarfed  through  rounds  of  unre- 
lieved toil  and  years  of  disuse. 

The  little  child  turns  to  the  beautiful  as  a  tender  plant 
to  the  sunlight,  and  a  very  young  child  is  susceptible  to 
the  sound  of  beautiful  music.  His  ear  is  alert  and  registers 
conceptions  very  early. 

A  child  hears  language  from  his  birth.  It  is  poured 
over  him  many,  many  months  with  no  expectation  that  he 
shall  use  it  immediately,  and  even  before  any  particular 
words  catch  his  attention.  By  constant  repetitions  he 
soon  understands  and  attempts  to  reproduce  this  spoken 
language,  and  has  a  vocabulary  of  many  words  long  before 
he  begins  the  definite  study  of  reading  and  spelling  them. 
Just  so,  if  music  be  a  language,  a  child  should  hear, 
love,  and  understand  its  tone  message  long  before  he  is 
able  to  spell  out  its  "words"  with  voice  or  fingers.  This 
experience  with  simple,  beautiful  music  should  surround 
the  child  at  home,  but  the  singing  of  good  songs  in  the  home 

«»  29  «« 


MUSI  C     A  P  P  R  E  C  I  A  T  I  O  X 


seems  to  be  a  lost  art,  if  we  ever  possessed  it,  and  very  few 
may  have  it  in  early  baby  days.  The  situation  demands 
that  this  lack  be  supplied  in  the  kindergarten  and  early 
primary  grades. 

Countless  times  it  has  been  said  that  experience  should 
precede  formal  instruction,  but  how  many,  many  times 
over  we  see  poor  little  children  struggling  to  master  the 
printed  symbols  of  the  music  language,  which  they  have 
never  heard. 

One  groans  to  think  of  the  aggregate  tons  of  sheet  music 
that  have  been  worn  to  tatters,  of  the  miles  of  scales,  and 
the  years  of  practice  wasted  without  any  real  music  expe- 
rience, appreciation,  or  ambition. 

Time  was  when  it  was  impossible  to  experience  music, 
except  for  the  few  who  were  fortunate  enough  to  have 
pianos  or  organs  and  someone  to  play  them;  but  that 
time  is  past.  It  is  just  as  easy  to  present  the  literature  of 
the  world's  best  music,  as  it  is  its  poetry. 

In  literary  courses  it  is  the  LITERATURE  ITSELF 
that  counts  and  reading  courses  are  preceded  with  much 
hearing  of  the  language.  We  should  also  surround 
children  with  the  good  music,  which  is  their  heritage,  that 
they  may  have  the  love  of  music  as  a  foundation  on  which 
to  build. 

Modern  methods  of  rearing  children  have  made  lulla- 
bies almost  obsolete.  Lullabies  are  the  first  songs  a  child 
should  hear,  and  the  Victor  educational  material  includes 
many  of  the  oldest  and  most  beautiful  of  the  world's 
lullabies,  especially  made  for  little  children,  "lest  we 
forget." 

These  and  many  other  simple  and  direct  melodies  have 
been  "sung"  with  sympathetic  solo  instrument — the 
violin,  viola,  clarinet,  celesta,  etc. — so  that  children  may 

•OB    30    MM 


BEGINNING     CULTURAL     HEARING 

enjoy  and  desire  to  hum  them  at  the  very  beginning  of 
their  journey  into  "tone-land, "  whether  it  be  in  the  school, 
or  at  the  sleepy -time  at  home. 

Let  the  children  hear  these  over  and  over — hum  with 
them  when  they  care  to,  and  make  them  indeed  their  own 
inheritance. 

Record  18622  contains  several  little  bits  of  tunes  that 
are  dear  to  all  the  older  generation. 

Hush,  My  Babe  is  one  of  these  treasures  by  Rousseau 
(1712-1778),  with  words  written  by  Watt  for  his  own 
children : 

Happy  Land,  an  old  Hindoostan  air,  is  the  simplest 
familiar  example  of  the  penta tonic  scale: 


111 


Come   Thou  Fount  of  Every  Blessing,  by  Wyeth,  has 
held  its  place  through  the  years: 


ir- 


a^=q=: 


C^3 


The  reverse  side  of  record  18022  contains  Lullaby  from  Erminie,  by 
Jakpbowski,  and  Birds  in  the  Night,  by  Sullivan.  They  are  longer  and 
a  bit  too  intricate  to  present  for  humming,  but  are  exquisite  bits  of 
beauty  just  to  hear.  The  music  will  be  printed  in  the  instrumental 
section. 

Rock-a-bye,  Baby     18664 


van   31 


MUSIC     APPRECIATION 


Adeste  Fideles     18664 


Cradle  Song     (Brahms)     18664 


Nazareth     (Gounod)     18664 


The  First  Nowell     (Traditional)     18664 
~ 


Serenade     (Moszkowski)     64576 


The  next  one  is  played  on  "sweet  little  bells,"  as  the 
children  say.  The  children  may  play  they  are  violins  and 
"sing"  with  the  music  if  they  can  be  violins  that  are 
sweet  and  fine  enough  to  play  with  the  "little  bells." 

Silent  Night     (Gruber)     17842 


To  a  Wild  Rose     (MacDowdl)      17691 

L  -zftf  $  9 

L  V|7 3     '^ 

Traumerei     (Schumann)     64197  or  18049 


RHYTHM 


HYTHM  is  the  one  fundamental,  innate, 
universal  element  of  music — fundamental 
because  it  is  basic,  innate  because  it  mani- 
fests itself  without  training,  universal 
because  it  is  everywhere. 

The  crude  dances  of  primitive  peoples 
preceded  organized  vocal  effort.  No  people,  however  re- 
mote in  time  or  place,  have  ever  lacked  the  sense  of  rhythm. 
It  is  akin  to  the  emotions  in  the  universality  of  its  response. 
We  see  it  in  all  nature:  in  the  beat  of  the  waves  on  the 
shore;  in  the  flight  of  the  birds  across  the  sky;  in  the 
swaying  of  the  trees  in  the  wind.  We  hear  it  in  industry: 
in  the  throbbing  of  the  engine;  in  the  clicking  of  the  train 
wheels;  in  the  purr  of  the  aeroplane.  In  human  life  it  is 
evident  in  our  very  heart-beats.  As  the  pulse  means  life 
to  the  human  body,  so  rhythm  means  life  to  music. 

However,  the  universal  manifestation  of  rhythm  is  not 
enough.  There  must  be  intelligent  response  and  a  recog- 
nition of  its  infinite  variety  and  meaning.  A  child  must 
be  led  to  feel  it,  hear  it,  see  it, 
and  express  it. 

Rhythm  occupies  a  unique 
place  in  the  life  of  the  child.  It 
is  the  lever  which  controls  all 
his  musical  experience,  but 
more,  much  more  than  that, 
rhythmic  expression  is  the  gate- 
way through  which  he  escapes 
from  the  bondage  of  awkward- 
ness, timidity,  and  the  repres- 

«»  33  «» 


MUSIC     APPRECIATION 


sion  of  self-consciousness,  into  freedom,  grace  and  poise. 
Awkward  and  self-conscious  adults  all  about  us  are  the 
result  of  a  childhood  spent  without  rhythmical  play. 

Physical  response  to  the  conscious  hearing  of  music 
should  be  fostered  and  developed  during  plastic  years  by 
constant  and  insistent  exposure  to  strongly-accented  good 
music. 

Nor  does  the  so-called  "taking  music  lessons"  insure 
real  rhythmic  feeling.  It  would  be  wonderful  if  all  singers 
and  players  of  whatever  instrument  could  really  realize 
that  rhythm  is  the  life  of  music,  and  that  he  who  destroys 
its  rhythm  takes  away  its  life. 

Because  rhythmic  feeling  is  so  basic  and  fundamental 
in  physical  freedom  and  grace,  and  because  it  carries  over 
into  all  kinds  of  musical  expression,  several  schools  or  sys- 
tems have  been  organized,  primarily  for  rhythmic  develop- 
ment. Chief  among  these  are  the  Eurythmic  Schools, 
founded  by  Dalcroze. 

A  specialist  would  be  required  to  teach  any  of  these 
systems,  but  ideas  which  are  practical  for  the  public- 
school  classrooms  have  gradually  been  utilized  by  wide- 
awake teachers  everywhere,  until  to-day  rhythmic 
development  is  assuming  its  proper  place  as  a  neces- 
sary prerequisite  to  all  musical  understanding  or 
expression. 

The  Victrola  is  an  absolute  necessity  to  this  rhythmic 
awakening  in  the  primary  grades.  If  the  children  are  un- 
rhythmic,  and  the  only  music  they  have  is  their  own 
unrhythmical  singing,  how  can  they  be  swayed  by  rhythm  ? 
How,  unless  they  hear  it,  accurately  and  masterfully 
played?  And  how  can  they  hear  real  music — rhythmical 
music — in  the  great  mass  of  public  school  classrooms,  except 
through  the  mechanical  instrument? 


RHYTHM 


In  the  definite  rhythm  work  prepared  for  lower  grades, 
we  have  considered  four  phases  of  rhythmic  development : 

1.  Free  expression. 

2.  Suggested  expression. 

3.  Loosely  organized  games. 

4.  Highly  organized  games. 

Music  prepared  and  selected  for  this  work  is  classified 
under  the  above  headings. 

FREE  EXPRESSION 

The  earliest  evidence  of  the  fact  that  music  really  does 
educate  (referring  to  the  original  and  root  meaning  of  the 
word,  which  is  "to  lead  out")  is  the  forcible  manner  in 
which  it  "leads  out  "a  little  child's  desire  for  expression, 
which  manifests  itself  in  spontaneous  bodily  activity  of 
some  kind.  This  natural  interpretation  of  the  music  is 
termed  "Free  Expression." 

If  it  is,  indeed,  it  must  be  the  child's  bodily  expression 
of  his  own  conception  of  the  music.  His  expression  will, 
therefore,  be  in  exact  proportion  to  his  conception  or  recep- 
tion of  the  music,  and  will  necessarily  depend  on  his  ability 
to  sense  the  rhythm,  the  tempo,  the  changes  from  fast  to 
slow — loud  and  soft.  Such  work  develops  his  alertness, 
attention,  and  bodily  grace  alike. 

Beautiful  work  of  this  nature  is  being  done  by  kinder- 
garten specialists  who  are  fortunate  enough  to  have 
a  piano  and  are  able  to  play  it  skilfully,  but  it  has  not 
been  generally  attempted. 

The  free  expression  work  as  taught  in  the  kinder- 
gartens of  Teachers'  College,  Columbia  University,  reveals 
several  well-ordered  steps  of  development. 

«»  35  ««» 


MUSIC     APPRECIATION 


First,  the  children  listen  to  a  portion  of  the  music, 
thinking  what  the  music  tells  them  to  do.  Secondly,  all 
children  express  in  bodily  activity  anything  the  music 
says  to  them. 

Children  will  instinctively  watch  each  other,  and  quite 
naturally  the  next  step  will  be  for  them  to  criticize  each 
other,  and  finally  to  pick  out  the  several  interpretations 
that  they  think  are  best. 

Then  the  teacher  enters  into  the  discussion,  and  by 
adroit  questioning,  leads  to  the  question  of  why  "Donald's" 
is  best.  This  "why"  turns  the  attention  to  the  technic  of 
the  dance. 

After  further  discussion,  the  children  will  finally  settle 
upon  one  or  two  that  they  are  willing  to  accept  as  a 
standard. 

All  wratch  the  child  leader,  then  all  do  it  again. 

It  has  been  proved  much  safer  to  allow  this  standard 
to  be  set  by  the  children.  When  the  teacher  illustrates  by 
her  own  action,  there  is  not  the  initiative  on  the  part  of 
the  children  thereafter,  but  rather  a  tendency  to  imitate 
the  teacher  arbitrarily. 

It  is  very  important  that  the  child  leader  be  selected 
by  the  children  themselves,  with  only  indirect  leadings 
from  the  teacher.  It  must  not  take  on  the  aspect  of  dis- 
playing the  more  talented  ones,  but  must  be  an  encourage- 
ment and  a  model  for  all  to  try. 

In  rare  cases,  where  there  is  no  one  who  seems  to  be 
moved  to  do  any  particular  thing,  it  is  better  to  invite 
some  child  to  come  back  from  last  year's  class  than  for 
the  teacher  to  set  a  standard  for  them. 

Great  care  has  been  exercised  in  selecting  the  following 
Victor  records,  which  are  very  simple  and  very  rhythmic, 
the  use  of  which  will  make  free  expression  work  possible  in 

MM    36     M» 


RHYTHM 


any  kindergarten  or  primary  school  room.  In  beginning 
the  work,  only  the  first  strain  of  each  number  should  be 
used  over  and  over. 

Pizzicato  is  a  great  favorite  for  the  first  steps  in  "  doing 
what  the  music  says."  Gretry  Gavotte  (Record  64198)  is 
slow  enough  and  very  definite  and  simple  for  beginning  work . 

The  following  list  is  suggested  for  free  expression  work : 

Canzonetta  64784  Military  Escort  17368 

Cupid  and  the  Butterfly  35532  Musette  (Cluck)  18314 

Dance  of  the  Happy  Spirits  74567  On  the  Wing  17368 

Dorothy  18216  Scherzo  (Dittersdorf)  74294 

Gavotte  (Popper)  45116  Sylvia  Ballet— Pizzicato  * 

Gavotte  (Gretry)  64198  Tarantelle  17174 

Golden  Trumpet  Schottische  35228  Teddy  Bears' Picnic  16001 

La  Cinquantaine  18296  Wild  Horseman  18598 

Merry  Makers— Nell  Gwyn  18164  William  Tell  Ballet  Music, 

Menuet  (Valensin)  45116          I,  II 

Minuet  (Haydn  Military)  62660 

SUGGESTED  EXPRESSION 

Suggestions  as  to  the  interpretation  or  a  proposed 
bodily  expression  of  music  may  come  from  the  title  of  the 
selection,  or  from  the  teacher  or  leader,  and  are  limited 
only  by  the  ingenuity  of  the  latter. 

Children  love  action,  and  the  joy  of  moving  with  the 
music  will  cause  them  to  listen,  that  they  may  "keep 
with  the  music,"  and  so  begin  a  conscious  hearing.  With 
conscious  hearing  comes  the  beginning  of  discrimination. 

No  better  means  can  be  devised  than  to  appeal  to  the 
play  instinct  of  the  child.  To  step  as  high-stepping 
horses  step,  to  fly  as  birds  fly,  to  bounce  balls  as  the  music 
indicates,  skipping,  marching,  tip-toeing,  rocking  a  cradle 
— all  these  devices  are  pure  play  to  the  child,  but  to  the 
teacher  they  are  the  development  of  rhythmic  ideas  and 
their  coordination  with  bodily  expression. 

*   Record  in  preparation 

«»  37  ««• 


RHYTHM 


Then  there  are  the  more  set  responses,  such  as  regular 
calisthenic  drills  given  to  music,  and  the  unlimited  variety 
of  suggestions  which  the  teacher  may  incorporate  into  a 
game  that  the  children  like  to  call  "follow  the  leader."  If 
given  to  an  entire  class  when  seated,  these  would  include 
any  rhythmic  motions  of  hands  and  arms,  and  orderly  clap- 
ping to  accent.  Sudden  and  unexpected  changes  by  the 
"leader"  stimulate  alertness  and  observation. 

The  same  idea  has  come  down  to  us  in  the  old  French 
game,  La  Mist'  en  VAire  (playing  a  tune  in  the  air), 
and  in  the  singing  games,  Did  You  Ever  See  a  Lassie 
and  Punchinello. 

Making  long  and  short  marks  on  the  blackboard  in 
response  to  the  strong  and  weak  pulses  of  a  march  is  a  fas- 
cinating "game,"  and  has  direct  bearing  on  later  writing 
to  music. 

Hand  clapping  was  the  first  primitive  attempt  at  rhyth- 
mic expression,  and  still  remains  the  earliest  response  of  a 
baby  child  to  rhythmic  stimulus.  Clapping  or  marking 
should  be  given  first  only  with  the  strong  accent,  and  later 
with  strong  and  weak. 

"Playing  orchestra"  furnishes  an  opportunity  for 
rhythmic  response  and  suggested  expression,  which  at  the 
same  time  develops  observation  and  interest  in  the  instru- 
ments of  the  orchestra.  At  first,  all  the  children  may  be 
allowed  to  pretend  to  play  violins,  or  some  one  instrument, 
with  the  music,  later  it  is  more  interesting  to  divide  the 
class  into  several  sections. 

"These  two  rows  may  play  violins.  How  do  you  hold  a  violin? 
What  do  you  hold  in  your  right  hand?  Place  the  bow  on  the  strings 
— so.  Now  all  together — out,  in,  out,  in.  In  a  fine  orchestra  all 
the  players  bow  together.  The  next  two  rows  may  play  drums. 
Would  you  rather  play  a  little  drum  or  a  big  bass  drum?  Next  row 
may  play  pianos.  And  (to  the  next  row)  did  you  ever  see  those  big 

t«»  39  "*> 


MUSIC    APPRECIATION 


horns  that  are  played — so?  They  are  called  'trombones.'  Let's 
all  hold  our  trombone  in  our  left  hand.  Now,  with  the  right  hand — 
out,  in,  out,  in. 

"I  shall  be  leader  of  the  orchestra.  The  leader  of  an  orchestra 
is  called  by  the  same  name  as  the  man  who  runs  a  street  car  or  train. 
Yes — 'conductor.'  When  a  conductor  speaks  to  his  orchestra  he  can't 
use  words,  because  if  every  one  is  playing  no  one  could  hear  him 
speak.  So  he  talks  to  the  orchestra  with  his  hands.  When  he  does 
this  (raising  the  hands  for  attention)  he  means,  'get  your  instru- 
ments ready.'  When  he  does  this  (downward  beat)  he  means  to 
play,  and  he  can't  say  anything  at  all  to  his  men  unless  they  look 
at  his  hands.  Now  let's  practice." 

If  the  teacher  will  be  strict  to  see  that  no  one  plays 
the  pretended  instrument  before  the  conductor's  signal, 
as  he  would  do  if  it  were  a  real  instrument,  our  little  game 
will  furnish  exercise  for  self-control  and  actual  practice 

in  ensemble  playing.  Now 
start  a  march  record,  all 
playing  imaginary  instru- 
ments with  the  music,  but 
following  the  conductor 
for  the  signal  to  start  and 
stop.  Allow  various  chil- 
dren from  the  class  to 
take  the  baton  and  play 
conductor,  beating  time 
precisely  with  the  music. 
Such  opportunity  for  self- 
expression  draws  out  a 
dormant  rhythmic  sense, 

"LEADER  OF  THE  BAND"  helPs  the  bashful  child  to 

overcome  self  -  conscious- 
ness, and  teaches  the  obstreperous  one  to  direct  his 
energy.  Any  good  brass  band  march  from  those  listed 
in  the  Graded  School  Catalogue  will  make  a  proper  ac- 
companiment. 

«»  40  «»» 


RHYTHM 

Many  kindergartens  carry  the  "play  orchestra"  a 
step  further,  and  use  real  sound-producing  instruments  of 
some  kind.  Small  cymbals,  triangle,  tambourine,  drums, 
rattles  and  such  instruments  of  the  percussion  family 
naturally  predominate,  as  our  real  point  at  this  time  is 
rhythmic  expression. 

A  tissue  paper  cape  on  one  side,  and  a  cap,  make  an 
attractive  "uniform"  for  state  occasions. 


LIST  OF  MUSIC  FOR  SUGGESTED  EXPRESSION 


Clayton's  Grand  March  35397 
Country  Dance.  The  17160 
Dance  Characteristic  16974 
Dorothy  Gavotte  18216 
Eros  Waltz  35228 
Gavotte  (from  "Mignon")  18216 
Gavotte  45116 
Golden  Trumpet  35228 
High  Stepping  Horses — 
Motive  for  Running  or 
Skipping  18253 
In  Lilac  Time  35397 
In  the  Park— Tenth  Regi- 
ment 18017 


Jolly  General 
La  Cinquantaine 
Military  Escort 
Menuett-Gavotte 
Moment  Musical 
On  the  Wing  Galop 
Patriotic  Medley 
Rhythm  Medley 
Rhythm  Medley  No.  2-b 
Skipping 

Standard  Bearer.  The 
Sylvia  Ballet 


LOOSELY  ORGANIZED  AND  HIGHLY  ORGANIZED 
RHYTHMIC  RESPONSE 

Verily,  verily,  I  say  unto  you,  except  ye  PLAY  as  a 
little  child,  ye  cannot  enter  the  kingdom  of  health. 

Modern  educators  are  just  beginning  to  awake  to  a 
realization  of  the  truth  that  the  child's  body  must  be  devel- 
oped as  well  as  his  mind;  and  they  are  utilizing  the  old 
folk  games  of  the  European  nations  and  the  American 
country  dances  in  order  to  develop  poise  and  graceful 
action  in  the  child.  Musical  accompaniment  has  become 
a  powerful  factor  in  systematizing  exercise. 


*  Record  in  preparation. 


41  *°* 


MUSIC     APPRECIATION 


Miss  Elizabeth  Burchenal,  the  leading  spirit  in  dis- 
seminating these  delightful  games  and  dances  in  America, 
reminds  us  that  "they  have  sprung  naturally  from  the 
hearts  of  simple,  wholesome  country  folk  in  response  to 
the  human  need  for  self-expression."  We  are  cautioned 
to  keep  the  exercise  a  real  form  of  play,  simple,  wholesome, 
unconscious  and  spontaneous,  and  to  use  them  to  bring 
about  a  happy  feeling  among  the  dancers,  rather  than  to 
make  a  pleasant  sight  for  onlookers.  This  new  form  of 
recreation  points  the  way  to  a  return  of  the  old-time  com- 
munity life,  with  its  genuine  expression  of  group  feeling, 
which  modern  conventions  have  almost  obliterated. 

Games  call  forth  even  keener  discrimination  than  free 
or  suggested  expression,  for  each  series  of  actions  has  its 
appropriate  music.  Children  must  recognize  and  respond 
to  these  changes. 

Folk  dances  develop  more  concentration  than  the  games. 

It  is  well  first  to  play  the  dance  through,  to  establish 
the  feeling  of  the  rhythm,  then  explain  the  steps  or  move- 
ments of  the  game,  and  teach  these  by  first  counting  with- 
out the  music.  Then  play  over  the  record  as  far  as  ex- 
plained, so  that  the  pupils  may  assimilate  the  melody, 
action,  and  rhythm.  The  instructor  may  choose  one  boy 
or  girl  and  go  through  the  exercise.  Then  the  class  may 
go  through  the  first  movement  with  the  music.  If  not 
done  correctly,  stop  the  record,  and  drill  again  without 
music.  The  spirit  of  the  dance  is  dependent  upon  the 
proper  tempo,  and  must  not  be  retarded,  nor  played  slow 
and  out  of  the  true  tempo  while  learning.  (In  the  catalog 
list  of  folk-game  records,  the  names  of  the  books  from 
which  the  selection  has  been  taken  are  given.) 

With  regard  to  marching,  the  classes  should  always  be 
cautioned  to  tread  lightly,  so  that  the  music  may  be  heard 


FOLK    GAMES 


in  all  parts  of  the  building.  Our  special  marching  records 
are  made  at  metronome  112,  which  is  a  good  march  time 
for  schools.  Regular  band  marches  are  made  116-132, 
and  are  often  too  fast  for  school  use.  The  time  and  the 
choice  of  march  selections  should  be  governed  by  actual 
requirements  in  the  school. 

Loosely  organized  rhythmic  response  includes  simple  sing- 
ing games,  such  as  the  following,  not  demanding  accurate 
response  from  the  individual  child.  Directions  for  teaching 
these  well-known  games  are  found  in  many  books,  notably 
"Singing  Games,"  by  Mari  Hofer,  published  by  A.  Flan- 
nagan  Company,  Chicago. 


Did  You  Ever  See  a  Lassie    175(58 
First  of  May,  The  17761 

Here  We  Go  Round  the  Mul- 
berry Bush  17104 
How  D'ye  Do  My  Partner     17568 
Let  Us  Chase  the  Squirrel      17568 


Looby  Loo 
Muffin  Man 
Needle's  Eye 
Oats,  Peas,  Beans 
Round  and  Round 
Soldier  Bov 


17567 
17568 
17567 
17567 
17104 
17568 


SOLDIER  BOY — SONG  AND  DRILL,  KINDERGARTEN. 
HARVARD  KENNEDY  SCHOOL,  OMAHA 

•jo»  43  «*° 


MUSIC    APPRECIATION 


With  the  following  simple  folk  dances,  suitable  for 
kindergarten  and  primary  presentation,  we  enter  the  field 
of  highly  organized  rhythmic  expression. 

We  have  here  listed  folk  dances  consisting  of  set 
figures,  and  requiring  some  degree  of  accuracy  from  each 
participant. 

Full  directions  for  all  these  dances  and  games  are 
found  in  a  series  of  books  by  Elizabeth  Burchenal,  pub- 
lished by  G.  Schirmer  Company,  New  York. 


Kinderpolka  17327 

Klappdans  17084 

Lassies'  Dance  17761 

Lott'  ist  Tod  18368 

Seven  Jumps  17777 

Seven  Pretty  Girls  17761 

Shoemaker's  Dance  17084 


Carrousel  17086 

Chimes  of  Dunkirk  17327 

Dance  of  Greeting  17158 

Farandole  18368 

Gustaf's  Skal  17330 

Hopp,  Mor  Annika  17331 

I  See  You  17158 

Jolly  is  the  Miller  17567 

METER  SENSING 

In  all  the  above,  the  children  have  been  feeling  and 
hearing  rhythm.  They  have  been  "learning  to  listen." 
They  will  now  apply  their  former  rhythmic  experience  to 
the  problem  of  meter  sensing,  and  will  "listen  to  learn." 

If  the  rhythmic  foundation  is  strong,  the  recognition 
of  accent  will  be  merely  naming  an  old  friend,  and  the  ear 
analysis  of  measure  is  the  logical  outcome,  and  the  next 
important  step  in  rhythmic  development. 

«•  44  •«• 


METER    SENSING 


Children  may  indicate  this  accent  through  various 
actions  suggested  by  the  teacher.  They  may  nod  heads, 
pick  flowers,  make  long  marks,  circles,  or  clap  hands  with 
the  strong  accent. 

When  the  strong  pulse  is  readily  recognized,  attention 
should  be  directed  to  the  unaccented  pulses  in  the  measure. 

The  next  step  should  be  a  conscious  comparison  of 
strong  and  weak  pulses.  They  may  be  expressed  with  a 
loud  clap  for  the  strong,  and  a  soft  clap  for  the  unaccented 
pulse;  with  long  and  short  marks,  or  big  and  little  circles 
on  the  blackboard  or  in  the  air. 

This  is  followed  by  counting  softly  (one,  two,  or  one, 
two,  three)  as  the  music  is  heard,  placing  the  emphasis  on 
the  first  pulse  noting  the  weak  beats  between. 

Care  always  has  been  taken  in  music  work  to  see  that 
children  can  read  the  time  signature  correctly,  with  their 
eyes;  but,  after  all,  music  is  not  visible.  The  importance 
of  this  recognition  of  measure  through  the  ear  can  hardly 
be  too  strongly  emphasized. 

In  listing  these  compositions  for  this  early  listening 
work,  elementary  rhythms,  those  having  one  sound  to  the 
count,  or  very  simple  combinations,  have  been  chosen,  as 
complex  rhythm  would  cause  confusion  and  uncertainty. 

16474  Amaryllis  4/4  18216  Mazurka  (Chopin)  3/4 

17928  Colombia  Waltz  3/4  17917  Menuett  (Don  Giovan- 

17719  Corn  Soldiers  4/4                       ni)  3/4 

18216  Dorothy  Gavotte  4/4  74444  Minuet    in    G    (Bee- 

74444  Gavotte  (Gossec)  4/4                    thoven)  3/4 

17917  Gavotte  (Gretry)  4/4  16474  Minuet  (Paderewski)  3/4 

17596  Giants,  The  4/4  17.510  Our  Little  Girls  2/4 

17719  In  the  Belfry  2/4  17596  See  Saw  3/4 

17158  I  See  You  2/4  17719  Singing  School  2/4 

17719  Jack-in-the-Pulpit  3/4  17719  Squirrel,  The  4/4 

18296  La  Cinquantaine  4/4  16387  Wedding  of  the  Winds  3/4 

17510  Ma's  Little  Pigs  3/4  18598  Wild  Horseman  6/8 

17719  Windmill  2/4 

««•  45  ««• 


THE  SONG  OF  THE  LARK 


SONG 


ONG  has  ever  been  the  most  intimate  vehicle 
of  self-expression.  Before  speech  was,  song 
of  a  crude  sort  was  used,  and  remains  the 
heritage  of  every  child. 

The  increasing   use   of  instruments  and 
instrumental  music   does    not   in   any  way 

minimize  the  value,  and  should  not  curtail  in  any  degree 

the  use  of  songs  in  the  classroom.      The  influence  of  so 

much  good  instrumental 

music    should   operate 

only  to  raise  the  standard 

of  the   songs    used,  and 

to    save    much    time    in 

learning  the  worthy  ones 

by  the  accentuated  ear 

training  thus  gained. 
Every  song  given  to 

little  children  should  be 

questioned    from     many 

angles.     First  of  all,    is 

its  text  good  poetry,  and 

is   the   meaning  suitable 

for    children  ?       Is    the 

thought-content    worthy 

a   place   in    the   impres- 
sionable mind  of  a  little 

child?  Such  a  little  mind 

is  like  the  wax   disc   of    the   recording   laboratory    and 

registers   faithfully   whatever   is   sent  to  it  through   the 

receiving  horn — the  ear-gate  to  the  inner  shrine. 

t<»  47  *an 


LUCCA  DELt/A  ROBBIA 

SIXGIXG  BOYS  WITH  BOOK 


MUSIC    APPRECIATION 


If  the  selections  in  the  readers  used  must  be  viseed 
with  scrupulous  care,  then  the  texts  of  the  songs  should 
be  "ten  times  doubly  so,"  for  the  added  melody  makes  a 
deeper  impression,  and  is,  therefore,  remembered  through 
life  with  absolute  fidelity.  When  the  text  has  passed  such 
rigid  examination,  what  of  the  melody?  Is  it  simple  and 
fine,  beautiful  and  pleasing,  or  banal,  commonplace,  and 
uninteresting?  What  of  the  accompaniment?  is  it  good 
or  bad  musically?  Does  it  consist  simply  of  the  tonic 
chord  with  an  occasional  plain  sub-dominant  or  dominant, 
perhaps  actually  wrong  progressions  and  chords,  or  is  it 
dainty  and  delicate  in  its  use  of  modern  harmonies,  little 
contrapuntal  effects,  etc.? 

What  can  we  say  of  the  rhythm?  We  have  learned 
that  as  rhythm  is  the  oldest  of  the  elements  of  music,  so 
is  it  the  first  to  be  developed  naturally  by  the  child  in  a 
modern  scientific  training  in  music. 

The  song  work  should  conform  to  this  law  of  develop- 
ment. There  should  be  presented  those  songs  of  strong 
rhythmic  character,  which  lend  themselves  to  a  rhythmic 
response,  and  those  songs  which  may  be  dramatized,  not 
the  old  "motion"  songs  with  absurd  cut-and-dried 
"pointings"  and  "gesturings,"  but  those  in  which  each 
child  may  be  some  character  or  idea,  and  where  individual- 
ity may  have  full  play  in  the  characterization. 

Care  should  always  be  taken  that  no  singing  be 
attempted  by  any  child  undergoing  violent  or  extraor- 
dinary physical  activity. 

Then  there  are  those  songs  which  are  of  quiet,  sweet 
thought,  contemplative,  imaginative,  which  teach  a 
moral,  a  lesson  in  manners,  or  are  simply  things  of  beauty. 

In  kindergarten  and  first  grade  the  rhythmic  and 
dramatic  songs  should  predominate.  In  second  grade 

MM     48     &0» 


SONG 

fewer  of  this  type  and  more  of  those  of  aesthetic  quality 
may  be  given.  While  in  the  third  and  succeeding  grades, 
the  rhythmic  type,  having  served  its  purpose,  should  be 
dropped  save  for  occasional  hearing,  and  those  of  "poetic 
beauty"  should  take  their  rightful  place  as  the  major  part 
of  song  material. 

We  have  furnished  songs  on  the  records  to  answer  these 
demands  (songs  sung  by  artists  whose  clear  voices  may  be 
safely  imitated)  and  now  classified  as  above.  In  rooms 
where  the  class  teacher  is  unable  to  sing  well,  the  records  of 
the  songs  to  be  taught  are  of  inestimable  value.  We  have 
selected  these  songs  with  infinite  care  and  have  recorded 
them  for  early  use  with  the  soprano  voice  only,  and  later 
the  mellow  mezzo.  No  male  voice  should  be  used  in  the 
early  grades — least  of  all  a  baritone  or  bass,  and  certainly 
not  any  combination  of  them  such  as  a  male  quartette  or 
chorus.  Such  mixtures  of  sound  would  confuse  the  little 
ears  at  this  time,  when  historically  and  psychologically  the 
aural  demand  is  for  clear-cut,  simple  melody. 

In  teaching  a  song  from  a  record,  be  sure  to  study  it 
first,  get  all  the  words,  and  be  ready  by  question  and  story 
to  make  the  song  alive  in  its  meaning.  Call  attention  to 
the  beautiful  tone  quality  (never  loud),  the  breath  control, 
and  the  joy  in  singing.  Hum  with  the  record  till  the 
melody  is  learned,  then  sing  with  and  without  the  record. 

The  following  classified  list,  offering  many  songs,  will  be 
found  suitable  and  helpful.  In  addition,  a  splendid  selection 
from  the  latest  books  in  school  music  is  to  be  recorded. 


MUSIC    APPRECIATION 


FIRST 

GRADE 

RHYTHMIC 

Little  Bo-Peep 

17004 

Bean  Porridge  Hot                  35225 
Blacksmith                                18649 

Little  Jack  Horner 
Mr.  Chicken 

17004 
17776 

Bylo                                           35225 

Mr.  Squirrel 

17776 

Corn  Soldiers                            17719 

Old  Mother  Hubbard 

18076 

Fire,  The                                   18330 

Sing  a  Song  of  Sixpence 

18076 

Go  to  Sleep,  Dolly                   35225 

POETIC 

Hear  the  Music  of  the  Drum*  — 

Baby  Dear 

17937 

Little  Shoemaker                     17937 

Blue  Bird 

17776 

Pit-a-Pat                                    17596 

Bobby  Shafto 

17937 

Pull  a  Cherry                            18330 

Bunny,  The 

17776 

Ride  a  Cock  Horse                  17004 

Diddle,  Diddle,  Dumpling 

35225 

Riggety  Jig                               17719 

Feast  of  Lanterns 

18076 

See-Saw,  Margery  Daw          18330 

Georgie  Porgie 

18076 

Singing  School                          17719 

I  Love  Little  Pussy 

18076 

Sleighing  Song                          17869 

Little  Bo-Peep 

17004 

Windmill,  The                          17596 

Little  Birdie 

17776 

Naming  the  Trees 

17719 

DRAMATIC 

Pussy  Cat 

18076 

Baa,  Baa,  Black  Sheep           17937 

Six  Little  Puppies 

17776 

Giants,  The                               17596 

Tiddlely-Winks  and  Tiddlely- 

Hey,  Diddle,  Diddle               17004 

Wee 

17776 

How  Many  Miles  to  Baby- 

Tracks in  the  Snow 

18074 

lon                                             17937 

Twinkle,  Twinkle 

17004 

SECOND 

GRADE 

RHYTHMIC 

Old  Chanticleer 

17513 

Blacksmith                                18649 

Winds,  The 

18665 

In  the  Belfry                             17719 

Wise  Bird,  The 

18649 

Little  Shoemaker                     17937 

POETIC 

Our  Flag                                    18649 

Buttercups 

18649 

Rain  Song                                  17004 

Cat-Tails 

18015 

Rock-a-bye,  Baby                    18664 

Cherry  Sweet 

18665 

Scale  Exercises 

Dew  Drop,  A 

17004 

See-Saw                                      17596 
Sleep,  Baby,  Sleep 

Jack-in-the-  Pulpit 
Mother's  Prayer 

17719 
18665 

Soldiers 

Nightingale,  The 

18330 

Swing  Song                               18665 

Our  Flag 

18649 

Tick-Tock                   18649,  *— 

Poppy  Lady 

17686 

Tulips                                         17686 

Pretty  Tulip 

18649 

Windmill,  The                         17596 

Rain  Song 

17004 

Rock-a-bye,  Baby 

18664 

DRAMATIC 

Sleep,  Baby,  Sleep 

*  

Blacksmith                                18649 

Sweet  Pea  Ladies 

17625 

Little  Shoemaker                     17937 

Violet,  The 

18649 

Mr.  Duck  and  Mr.  Turkey    17776 

What  Does  Little  Birdie  Say 

*  

Record  in  preparation 


50   *»» 


SONG 


THIRD  GRADE 


RHYTHMIC 

Blacksmith 
Cuck-Coo  Clock 
Hand  Organ 
See-Saw 
Sleighing  Song 
Slumber  Boat 
Song  of  Iron 
Star  Child,  A 
Tick-Tock                  18649, 
Tulips 

17937 

17513 

* 

17596 
17869 
18448 
17937 

18649 

* 

17686 

DRAMATIC 


Gingerbread  Man 
Hungry  Windmill,  The 
Leaves'  Party 
Postilion,  The 
Song  of  Iron 


Autumn  Lullaby 
Buttercups 


17937 
17513 

Cuckoo  Music 
Daffodils 
Gingerbread  Man 
Good-Night   and   Christmas 
Prayer 
Household  Hints 
Jap  Doll 
Little  Christmas  Shoes 
Marguerites 
Merry  Christmas 
My  Shadow 
Our  Flag 
Owl,  The 
Robin  Red  Breast 
Slumber  Song 
Violets 
Woodpecker 

PATRIOTIC 

18649 
18015 
18015 

17868 
18015 
18015 
17869 
17686 
17869 

17596 
17869 
18448 
17937 
18649 

17686 

18015 
17513 
18074 
18330 
17937 

18649 
17686 
17686 

17625 
17686 

18649 


America  17580 

Our  Flag  18649 

Red,  White  and  Blue  17580 

Soldier  Boy  17568 


It  would  indeed  be  "carrying  coals  to  Newcastle"  to 
write  out  extended  analyses  for  these  simple  and  well- 
known  songs,  as  most  of  them  are  known  and  used  by 
teachers  everywhere.  However,  teaching  directions  for 
a  few  numbers,  chosen  at  random,  are  here  given  as 
suggestions. 

Similar  points  of  interest  may  be  found  in  all  the  others, 
and  each  song  should  be  carefully  taught  with  full  regard 
to  its  thought  content,  and  its  rhythmic  and  dramatic 
possibilities. 

Riggety  Jig     (3-4  Rhythm— Key  of  G)— 17719 

This  is  just  a  gay  little  "make-believe"  horseback  ride.  What  joy 
there  is  in  riding  a  stick  horse!  No  doubt  the  universal  love  of  such  play 


*  Record  in  preparation 


MUSIC    APPRECIATION 


comes  from  the  same  root  as  the  old  Morris  dances,  where  the  stick  is 
adorned  with  a  carved  head  and  gaily  caparisoned  as  a  knight  in  his 
armor: 

So  fast,  so  fast  my  horse  can  go, 

O  riggety,  riggety  jig,  you  know; 

He's  just  the  branch  of  a  willow  tree, 

O  riggety  jig,  you  see. 


See-Saw,  Margery  Daw— 18330 

Sec-Saw,  Margery  Daw  is  great  fun  if  given  with  the  rhythmic  swing- 
ing from  side  to  side  of  the  clasped  hands  of  couples  of  children  and  at  the 
last  line  quickly  turning  under,  the  arms  raised  high  over  heads,  hands 
still  clasped,  which  we  used  to  call  "wringing  the  dishcloth,"  and  also 
the  same  as  the  old  game  "Wash  the  Lady's  Dishes,  Hang  Them  on  the 
Bushes,"  etc. 

Little  Shoemaker— 17937 

The  Little  Shoemaker  is  one  of  Mrs.  Gaynor's  popular  songs.  It  is 
best  taught  with  children  sitting  on  floor  or  on  tops  of  desks  (facing  back 
of  room)  with  left  foot  across  the  right  knee,  side  of  sole  upward.  In  per- 
fect rhythm  imitate  sewing  with  two  needles,  crossing  through  and  pulling 
out  the  long  waxen  thread.  At  the  words  "a  rap-a-tap-tap "  softly 
pound  in  make-believe  wooden  pegs,  by  tapping  sole  of  shoe  with  palm 
of  right  hand.  At  the  harmonious  "tit-tat-tee"  both  hands  clenched 
may  pound  each  other.  At  "making  shoes  for  you  and  me,"  resume  the 
sewing.  Keep  the  rhythm  perfectly. 


The  Leaves'  Party— 18074 

Choose  any  number  of  children  for  Leaves,  one  for  North  Wind,  and 
one  for  Winter.  During  6rst  verse,  children  come  running  in,  the  bold 
North  Wind  following.  At  beginning  of  second  verse,  North  Wind 
begins  to  blow  gently,  the  leaves  dancing  merrily.  As  the  North  Wind 
blows  more  and  more  fiercely,  he  tosses  the  Leaves  to  and  fro  until  they 
finally  fall  exhausted  to  the  ground.  In  the  third  verse,  kind  Dame 
Winter  comes,  looking  pityingly  down  upon  the  tired  Leaves,  she  gently 
covers  them  with  her  mantle  of  snow. 


The  Blacksmith— 17937 

The  Blacksmith  is,  of  course,  perfectly  timed  for  imitation  with  im- 
promptu anvils.  There  should  be  at  least  one  or  two  triangles  at  hand 
while  the  class  may  use  the  iron  framework  of  the  seat,  striking  with 
pencils  or  wooden  sticks  which  should  be  a  regular  part  of  the  equipment 
of  the  kindergarten.  Sets  for  other  rooms  could  be  made  easily  by  the 
manual  training  boys. 

««•  52  ««• 


SONG 


Pit-a-Pat— 17596 

Pit-a-Pat  is  charming  if  accompanied  by  a  light  tapping  of  fingers  on 
desks.  Fingers  should  always  work  in  rotation  as  a  reversed  five-finger 
exercise,  using  only  the  nails,  never  the  cushion,  and  never  all  together. 

Little  Bo-Peep— 17004 

No  maiden  in  all  history  is  more  emblematic  of  that  charming  in- 
efficiency that  seems  to  have  heretofore  belonged  to  womankind.  In 
her  day-dreaming  she  not  only  lost  her  sheep  but  after  ineffectual  search- 
ing seemed  quite  content  to  leave  them  to  their  fate. 

Baa,  Baa,  Black  Sheep— 17937 

Baa,  Baa,  Black  Sheep  may  be  dramatized  by  having  one  child  for 
the  little  Black  Sheep,  and  three  for  the  Master,  the  Dame,  and  the 
Little  Boy.  Always  bring  out  the  value  of  the  wool  of  the  black  sheep 
that  needs  no  dye.  And  be  sure  there  is  no  thought  of  any  reflection  as 
the  usual  interpretation.  Present,  too,  the  lesson  of  the  generosity,  the 
kindliness,  politeness,  and  promptness  of  the  little  black  sheep. 

Old  Chanticleer— 17513 

One  child  standing  on  the  stool  is  Chanticleer.  He  crows  and  crows. 
Victrola  starts  and  sings  "Cock-a-doodle-doo"  and  child  pompously 
joins  in  and  sings  the  second  "Cock-a-doodle-doo."  Children  sing, 
"  You  think  your  voice  is  very  fine,"  etc.  At  words  "  Cock-a-doodle-doo" 
children  crow,  then  Chanticleer,  then  both  crow  together  for  the  re- 
mainder of  the  song. 

Another  suggestion:  let  all  the  children  in  the  room  play  they  are 
Chanticleer.  Start  record,  children  crowing  "Cock-a-doodle-doo"  with 
the  record.  Let  the  record  sing  "  You  think  your  voice  is  very  fine,"  etc. 
and  children  answering  each  time  it  comes  to  "Cock-a-doodle-doo." 

Many  problems,  which  later  are  to  arise,  may  well  be 
experienced  in  these  lower  grades  by  simply  hearing, 
without  comment  or  explanation,  many  things  which  later 
may  be  studied  definitely. 

Of  such  are  the  songs  in  the  minor  mode,  such  as : 

Crooked  Man  18076  La  Mere  Michel  72165 

Ewa-Yea!  35617  La  Mist'  en  PAire  72166 

Her  Blanket  18418  My  Shadow  *— 

Jap  Doll  18015  Wah-wah-taysee  35617 

*  Record  in  preparation 

009  53  «*= 


MUSIC    APPRECIATION 


There  is  no  need  to  mention  the  word  "minor,"  but 
later  the  song  will  be  remembered.  In  the  same  way, 
there  is  a  fine  body  of  song  material  which  should  be  sung 
or  played  to  and  for  little  children,  but  not  with  any  idea  of 
their  imitating  or  reproducing  such  songs.  Of  these  the 
following  list  will  be  excellent  as  appreciation  songs,  which 
may  be  heard  to  wonderful  advantage: 

Sleep,  Little  Baby  of  Mine"!,-.,,,,,  Joy  of  the  Morning  \i-rma 

Slumber  Sea  J17212  Boat  Song  J17 

Cradle  Song  (Brahms)  lisiio  Hiawatha's  Childhood  35617 

Little  Dustman  /  The  Sandman  64220 

Slumber  Boat                          18448  Little  Boy  Blue  64605 

Pickaninny's  Lullaby  1 17010  Hark!  Hark!  the  Lark  64218 

Mammy's  Song  Lo,  Here  the  Gentle  Lark      64267 

Spanish  Gypsy  1  The  Wren  64792 

Lithuanian  Folk  Songs  H8330  The  Swallows  64392 

Linden  Tree  J 

(These  three  last-named  records  may  be  introduced  in  third  grade, 
and  may  be  easily  presented  through  comparing  coloratura  soprano 
to  birds.) 

There  are  numerous  beautiful  lullabies  which  all 
children  know  but  whose  words  are  in  most  cases  too 
mature  for  childish  tongues.  To  utilize  these  world-old 
melodies  without  the  tangle  of  difficult  words,  a  consider- 
able number  have  been  recorded  by  violin,  viola,  English 
horn,  etc.,  for  the  children  to  hum  with  and  so  make  them 
their  own.  These  will  be  treated  in  the  Instrumental  Section. 

In  the  same  way  we  are  presenting  the  principal  themes 
from  some  of  the  great  compositions  of  symphony  and 
oratorio,  which  should  make  up  a  cherished  store  of  the 
child's  repertoire.  These  appear  in  the  Cultural  Hearing 
and  Instrumental  Sections. 

A  veritable  storehouse  of  old  melodies  has  been  un- 
earthed in  old  French  tunes  of  children's  songs  and  games. 

Many  of  these  were  early  adopted  by  German  compilers 
of  folk  tunes  and,  in  turn,  have  found  their  way  into  great 

co»  54  •*• 


FRENCH    SONGS 


numbers  of  our  own  school  music  books,  credited  wrongly 
to  German  sources,  when,  in  fact,  they  were  of  typically 
French  origin. 

A  splendid  number  of  these  have  been  recorded  in  fine 
French  diction  with  just  the  right  spirit  by  a  French 
artist,  Eva  Gauthier,  the  accompaniments  arranged  and 
played  by  another  French  artist,  Mr.  Bourdon,  both  of 
whom  "lived"  them  all  in  their  childhood. 

These  melodies  are  found  plentifully  in  our  school 
readers  with  English  versions,  and  the  work  of  teaching 
them  will  be  minimized  by  humming  the  melodies  earlier 
for  listening  lessons. 

The  English  words  here  given  are  a  free  literal  trans- 
lation simply  to  give  the  thought.  They  are  not  versified 
for  singing,  and  singing  of  them  is  of  course  impossible. 
They  are,  therefore,  offered  as  humming  material  only, 
unless  the  French  be  attempted.  (Records  72165  and 
72166.)  The  free  translations  are  by  Mr.  Rosario  Bourdon. 

French  English 

Au  CLAIR  DE  LA  LUNE  BY  THE  MOONLIGHT 

Au  clair  de  la  lune,  By  the  moonlight, 

Mon  ami  Pierrot,  My  friend,  Pierrot, 

Prete  moi  ta  plume  Lend  me  your  pen 

Pour  ecrire  un  mot.  To  write  a  few  words. 

Ma  chandelle  est  morte,  My  candle  is  out, 

Je  n'ai  plus  de  feu.  I  have  no  more  light. 

Ouvre  moi  ta  porte  Open  your  door 

Pour  1'amour  de  Dieu.  For  pity's  sake. 

Au  clair  de  la  lune,  By  the  moonlight, 

Pierrot  repondit  Pierrot  answered; 

Je  n'ai  pas  de  plume  I  have  no  pen; 

Je  suis  dans  mon  lit,  I  am  in  bed, 

Va  chez  la  voisine  Go  to  the  neighbor; 

Je  crois  qu'elle  y  est,  I  think  she  is  in, 

Car  dans  sa  cuisine  For  in  her  kitchen 

On  bat  le  briquet.  Someone  is  striking  a  fire. 


55 


MUSIC    APPRECIATION 


French 

IL  PLEUT,  IL  PLEUT,  BERGERE 
I!  pleut,  il  pleut,  bergere, 
Rentre  tes  blancs  moutons 
Aliens  a  ma  chaumiere, 
Bergere  vite  aliens; 
J'entends  sous  le  feuillage 
L'eau  qui  tombe  a  grand  bruit, 
Voici  venir  1'orage, 
Voila  1'eclair  qui  luit. 


French 

PROMENADE  EN  BATEAU 
Au  courant  de  la  riviere 
Glisse,  glisse,  glisse  doucement; 
Glisse,  glisse,  glisse,  glisse, 
Glisse,  glisse,  barque  legere! 
Glisse,  glisse,  barque  legere, 
Glisse,  glisse,  glisse  doucement! 

French 

FAIS  DODO,  COLAS 
Fais  dodo,  Colas,  mon  p'tit  frere, 
Fais  dodo,  tu  auras  du  lolo; 
Papa  est  en  haut, 
Qui  fait  des  sabots; 
Maman  est  en  bas, 
Qui  fait  des  bas. 

French 

SAVEZ-VOUS  PLANTER  LES  CHOUX? 
Savez-vous  planter  les  choux, 
A  la  mode,  a  la  mode, 
Savez-vous  planter  les  choux, 
A  la  mode  de  chez  nous? 

On  les  plante  avec  le  pied, 
A  la  mode,  a  la  mode, 
On  les  plante  avec  le  pied, 
A  la  mode  de  chez  nous. 

On  les  plante  avec  la  main  (hand), 

A  la  mode,  a  la  mode, 

On  les  plante  avec  la  main, 

A  la  mode  de  chez  nous. 


English 
IT  is  RAINING,  IT  is  RAINING, 

SHEPHERDESS 

It  is  raining,  it  is  raining,  Shep- 
herdess, 

Bring  in  your  white  lambs, 

Let  us  go  to  my  hut. 

Quick,  come  Shepherdess, 

I  hear  under  the  foliage 

Raindrops  falling  with  a  great 
noise, 

Here  comes  the  storm, 

There's  the  lightning  so  bright. 

English 
BOAT  TRIP 

By  the  current  of  the  river, 
Glide,  glide,  glide  gently; 
Glide,  glide,  glide,  glide, 
Glide,  glide,  light  craft! 
Glide,  glide,  light  craft, 
Glide,  glide,  glide  gently! 

English 

Go  TO  SLEEP,  COLAS 
Go    to    sleep,    Colas,    my    little 
brother,  Go  to  sleep,  you  shall 
have  some  candy; 
Papa  is  upstairs,  Making  wooden 
shoes;    Mama   is   down    stairs, 
Knitting  stockings. 

English 

Do  You  KNOW  How  TO  PLANT 
CABBAGES? 

Do  you  know  how  to  plant  cab- 
bages, 

After  the  fashion,  after  the  fashion, 

Do  you  know  how  to  plant  cab- 
bages 

After  the  fashion  at  home? 

We  plant  them  with  the  foot, 
After  the  fashion,  after  the  fashion, 
We  plant  them  with  the  foot, 
After  the  fashion  at  home. 


***>   50 


FRENCH    SONGS 


This  can  be   continued,  naming  the  hand,  elbow,  knees,  etc.,  and 
going  through  the  motion  of  planting  with  the  designated  part. 


French 
TREMPE  TON  PAIN 

Tremp'  ton  pain,  Marie, 

Tremp'  ton  pain,  Marie, 

Tremp'  ton  pain  dans  la  sauce, 

Tremp'  ton  pain,  Marie, 

Tremp'  ton  pain,  Marie, 

Tremp'  ton,  pain  dans  le  vin. 

Nous  irons  Dimanche 

A  la  maison  blanche, 

Toi  z'en  Nankin 

Moi  z'en  bazin, 

Tous  deux  en  escarpins. 


English 
DIP  YOUR  BREAD 

Dip  your  bread,  Mary, 

Dip  your  bread,  Mary, 

Dip  your  bread  in  the  gravy, 

Dip  your  bread,  Mary, 

Dip  your  bread,  Mary, 

Dip  your  bread  in  the  wine. 

We  shall  go  Sunday 

To  the  white  house, 

You  dressed  in  Nankeen, 

I  in  my  best  clothes, 

The  two  of  us  in  shining  boots. 


French 
LA  MERE  MICHEL 

C'est  la  mer'  Michel  qui  a  perdu  son 

chat, 
Qui  cri'  par  la  f'netre  a  qui  le  lui 

rendra, 
Et  1'  comper  Lustucru  qui  lui  a 

repondu, 
Allez  la  mer'  Michel  vot'  chat  n'est 

pas  perdu. 

C'est   la   mere   Michel   qui   lui   a 

demande: 
Mon  chat  n'est  pas  perdu!    vous 

1'  avez  done  trouve? 
Et  1'  comper'  Lustucru  qui  lui  a 

repondu, 
Donnez  un'  recompense,   il  vous 

sera  rendu. 

Et  la  mere  Michel  lui  dit:    c'est 

decide 
Si   vous   rendez   mon   chat,   vous 

aurez  un  baiser, 
Le  comper'  Lustucru  qui  n'en  a 

pas  voulu 
Lui  dit  pour  un  lapin  votre  chat 

est  vendu. 


English 
MOTHER  MICHEL 

It  is  Mother  Michel  who  has  lost 

her  cat, 
And   cries   thru   her   window   for 

someone  to  bring  it  back, 
And  that  old  crony,  Lustucru,  who 

answers, 
"  Go  on,  Mother  Michel,  your  cat 

is  not  lost." 

It  is  Mother  Michel  who  asks  him: 

"My  cat  is  not  lost?  You  must 
then  have  found  it." 

And  that  old  crony,  Lustucru, 
answers, 

"Give  a  reward  and  it  will  be  re- 
turned." 

And  Mother  Michel  told  him,  "  It 

is  settled, 
If  you  return  my  cat,  I  will  give 

you  a  kiss." 
Old  crony,  Lustucru,  who  did  not 

want  any,  said, 
"  Your  cat  was  sold  as  a  rabbit." 


an   57 


MUSIC     APPRECIATION 


French 
MALBROUCK 

Malbrouck  s'en  va  t'en  guerre, 
Mironton,    mironton,    mirontaine; 
Malbrouck  s'en  va  t'en  guerre, 
Ne  sail  quand  reviendra; 
Ne  sail  quand  reviendra, 
Ne  sait  quand  reviendra! 
Malbrouck  s'en  va  t'en  guerre, 
Mironton,    mironton,    mirontaine; 
Malbrouck  s'en  va  t'en  guerre, 
Ne  sait  quand  reviendra. 


English 
MALBOROUGH 

Malborough  is  going  to  war, 
Mironton,  mironton,  mirontaine: 
Malborough  is  going  to  war, 
Does  not  know  when  he  shall  re- 
turn, 

Does  not  know  when  he  shall  re- 
turn, 

Does  not  know  when  he  shall  re- 
turn ! 

Malborough  is  going  to  war, 
Mironton,  mironton,  mirontaine; 
Malborough  is  going  to  war, 
Does  not  know  when  he  shall  re- 
turn. 


French 

LE  PONT  D' AVIGNON 
Sur  le  pont  d' Avignon, 
L'on  y  danse,  1'on  y  danse; 
Sur  le  pont  d' Avignon, 
L'on  y  danse  tout  en  rond. 
Les  beaux  messieurs  font  comm'  ca, 
Et  puis  encor'  comm'  ca. 


English 

THE  BRIDGE  AT  AVIGNON 
On  the  bridge  at  Avignon 
They  dance,  they  dance; 
On  the  bridge  at  Avignon 
They  dance,  all  in  a  ring. 
(1)  The  handsome  men  do  like  this 
And  then  again  like  this. 


1 — -In  singing  "The  handsome  men  do  like  this"  imitate  gentlemen 
in  the  act  of  bowing. 


Sur  le  pont  d' Avignon, 

L'on  y  danse,  Ton  y  danse; 

Sur  le  pont  d' Avignon, 

L'on  danse  tout  en  rond. 

Les  bell's  dames  font  comm'  c.a, 

Et  puis  encor'  comm'  c.a. 


On  the  bridge  at  Avignon 

They  dance,  they  dance; 

On  the  bridge  at  Avignon 

They  dance,  all  in  a  ring. 

(2)  The  beautiful  ladies  do  like  this, 

And  then  again  like  this. 


2 — Imitate  ladies  in  the  act  of  curtsying. 


French 

AH!  Vous  DIRAI-JE,  MAMAN 
Ah!   vous  dirai-je,  maman, 
Ce  qui  cause  mon  tourment! 
Papa  veut  que  je  raisonne  comme 

une  grande  personne; 
Moi  je  dis  que  les  bonbons 
Valent  mieux  que  la  raison. 


English 

An!   SHOULD  I  TELL  You,  MAMA 
Ah!  should  I  tell  you,  mama, 
What  is  the  cause  of  my  distress? 
Papa  wants  me  to  reason  like  a 

grown-up  person; 
But  I  say  that  candies 
Are  worth  more  than  reason. 


58 


FRENCH    SONGS 


French 

LA  BONNE  AVENTURE 
Je  suis  un  gentil  poupon 
De  belle  figure, 
Qui  aime  bien  les  bonbons 
Et  les  confitures. 
Si  vous  voulez  m'en  donner, 
Je  saurai  bien  manger. 
La  bonne  aventure, 
Oh!  gai! 
La  bonne  aventure! 

Je  serai  sage  et  bien  bon, 
Pour  plaire  a  ma  mere. 
Je  saurai  bien  ma  legon, 
Pour  plaire  a  mon  pere; 
Je  veux  bien  les  contenter, 
Et  s'ils  veulent  m'embrasser, 
La  bonne  aventure, 
Oh!  gai! 
La  bonne  aventure! 

French 

J'AI  DU  BON  TABAC 
J'ai  du  bon  tabac  dans  ma  taba- 

tiere, 
J'ai  du  bon  tabac,  un  n'en  auras 

pas. 

J'en  ai  du  fin  et  du  bien  rape, 
Qui  ne  s'ra  pas  pour  ton  fichu  nez! 
J'ai  du  bon  tabac  dans  ma  taba- 

tiere, 
J'ai  du  bon  tabac,  tu  n'en  auras 

pas. 

French 

LA  CASQUETTE  DU  PERE  BUGEAUD 

As-tu  vu  la  casquette,  la  casquette, 

As-tu  vu  la  casquett'  au  pere  Bu- 
geaud? 

Elle  est  fait'  la  casquette  la  cas- 
quette 

Elle  est  fait'  avec  du  poil  de  cha- 
meau. 

NOTE — During  the  war  in  Algeria,  in  1840,  a  French  Camp  was 
caught  in  a  surprise  attack  by  the  Arabs;  Marshall  Bugeaud  came  rush- 
ing out  of  his  tent  to  get  at  the  head  of  his  troops.  To  the  delight  of  his 

«»  59  *o° 


English 

THE  HAPPY  EVENT 
I  am  a  cute  little  darling, 
And  good  looking, 
Who  is  very  fond  of  candy 
And  preserves. 
If  you  will  give  me  some, 
I  shall  surely  eat  them. 
The  happy  event, 
Oh!  joy! 
The  happy  event! 

I  will  be  good  and  behave, 

To  please  my  mother. 

I  shall  know  my  lesson, 

To  please  my  father; 

I  am  willing  to  make  them  happy, 

And  if  they  want  to  kiss  me, 

The  happy  event, 

Oh!  joy! 

The  happy  event. 

English 
I  HAVE  SOME  GOOD  SNUFF 

I  have  some  good  snuff  in  my  snuff- 
box, 

I  have  some  good  snuff,  you  shall 
not  have  any. 

I  have  some  that  is  fine,  and  some 
well  grated, 

But  that  is  not  for  your  sorry  nose! 

I  have  some  good  snuff  in  my  snuff- 
box, 

I  have  some  good  snuff,  you  shall 
not  have  any. 

English 

FATHER  BUGEAUD'S  CAP 
Did  you  see  the  cap?   the  cap? 
Did  you  see  Father  Bugeaud's  cap? 
It  is  made,  the  cap,  the  cap, 
It  is  made  of  camel's  hair. 


MUSIC     APPRECIATION 


soldiers,  he  found  that  he  still  had  his  woolen  night-cap  on  his  head;  the 
"Zouaves"  immediately  started  to  sing  this  little  song  with  the  im- 
provised words,  and  it  has  ever  since  remained  the  march  that  often 
led  the  French  on  to  victory. 


French 

FRERE  JACQUES 
Frere  Jacques, 

Frere  Jacques,  dormez-vous? 
Dormez-vous? 
Sonnez  les  matines, 
Sonnez  les  matines, 
Din,  din,  donl 
Din,  din,  don! 


English 

BROTHER  JAMES 
Brother  James, 

Brother  James,  are  you  asleep? 
Are  you  asleep? 
Ring  for  the  morning  prayers, 
Ring  for  the  morning  prayers, 
Ding,  ding,  dong! 
Ding,  ding,  dong! 


French 

LA  MIST'  EN  L'AIRE 
Bonhomme,  bonhomme,  que  savez- 

vous  faire? 
Savez-vous   jouer   de   la    mist'-en 

1'aire? 
L'aire,  1'aire,  1'aire,  de  la  mist'-en 

1'aire? 
Ah!  ah!  ah!  que  savez-vous  faire? 


English 

THE  TUNE  IN  THE  AIR 
My  good  man,  my  good  man,  what 

do  you  do? 
Do  you  know  how  to  play  a  tune  in 

the  air? 

Air,  air,  air,  a  tune  in  the  air? 
Ah!   ah!   ah!   what  do  you  do? 


Dance  in  a  circle  during  the  first  eight  measures;  wave  hands  in  the 
air  while  singing  "Air,  air,  air,"  turn  around  and  clap  hands  while  saying 
"Ah!  ah!  ah!"  then  go  back  to  beginning.  In  each  of  the  succeeding  verses 
replace  the  word  "Air"  with  the  name  of  a  musical  instrument  of  two 
syllables,  like  violin,  'cello,  oboe,  bassoon,  etc.,  while  imitating  the  manner 
of  playing  the  instruments  mentioned,  then  go  back  to  the  four  repeated 
measures  with  "Air,  air,  air,  a  tune  in  the  air,"  with  which  it  always 
finishes. 


LA  MIST'  EN  L'AIRE 


UK    CO 


FRENCH    SONGS 


Au  Clair  de  la  Lune     72165  A 


Promenade  en  Bateau     72165  A 


Fais  Dodo,  Colas     72165  A 


Savez-vous  Planter  les  Choux    72165  B 


Trempe  Ton  Pain,  Marie    72165  B 


La  Mere  Michel     72165  A 

Ah!     Vous  Dirai-je,  Maman     72166 


La  Bonne  Aventure    72166 


przz5.a — 
Epl^^^£EE^E*EE 

J'ai  du  Bon  Tabac     72166 


INSTRUMENTAL  MUSIC 

NTIL  recently,  all  music  in  our  public  schools 
has  been  vocal — music  that  the  students 
could  make  themselves,  with  possibly  an 
occasional  artist  concert,  which  soon  be- 
comes only  a  fleeting  memory.  The  time 
has  now  come  when  an  entirely  new  world 
may  be  opened  to  the  children,  to  remain  as  their  perma- 
nent possession:  the  wonderfully  beautiful  and  varied 
realm  of  instrumental  music. 

An  awakened  interest  in  instrumental  music  is  evi- 
denced everywhere  in  the  increased  number  of  orchestras, 
in  the  widespread  movement  for  the  organization  of 
orchestras  in  schools,  and  in  classroom  instruction  in  the 
study  of  violin  and  piano.  But  the  question  arises:  what 
provision  is  being  made  for  pupils  to  learn  to  listen  to 
instrumental  classics  played  by  artists  and  orchestras  of 
recognized  ability?  Such  music  literature  is  the  music 
itself,  easily  heard,  loved,  and  understood  by  all. 

The  instrumental  music  which  the  student  should  hear 
and  study  as  a  model  for  his  own  reproduction  finds  its 
flower  in  the  symphony,  which  is  acknowledged  to  be  the 
highest  type  of  music.  The  foundation  for  the  adequate 
appreciation  of  such  music  should  be  laid  in  early  child- 
hood through  simple  types  and  selections,  and  developed 
in  accordance  with  the  growing  powers  of  the  child,  in 
conformity  with  the  principles  of  modern  pedagogy  and 
child  study. 

«*>  63  •*» 


MUSIC    APPRECIATION 


The  teacher  of  music  appreciation  has  two  immediate 
problems :  first,  the  selection  of  material  appropriate  as  to 
quality  and  content;  secondly,  the  study  of  the  manner  of 
presenting  the  selections  used. 

In  selecting  material  for  primary  grades,  the  following 
points  should  be  considered:  (1)  The  selection  should  be 
strongly  rhythmic  in  character.  (2)  The  melody  should  be 
tuneful.  (3)  The  music  should  be  played  by  a  solo  instru- 
ment or  by  simple  combinations  of  instruments.  The  violin, 
xylophone,  bells,  'cello,  or  flute,  are  especially  appropriate 
instruments  for  presenting  music  to  little  children.  In 
this  connection  it  should  be  remembered  that  the  interest 
from  the  pupils'  point  of  view  is  not  in  the  instrument  as 
such,  but  only  as  a  means  of  producing  tonal  effects 
pleasing  and  proper  for  children  to  hear.  Combinations 
of  these  instruments  with  others  in  duets,  trios,  quartets, 
and  light  orchestras  may  be  used. 

All  of  the  instrumental  music  suggested  for  use  in  the 
first  three  grades  may  be  divided  as  follows:  rhythmic, 
descriptive,  and  music  with  purely  aesthetic  appeal.  Many 
selections  necessarily  belong  to  more  than  one  of  these 
classes,  but  their  classification  will  be  determined  accord- 
ing to  which  characteristic  is  considered  predominant  for 
the  present. 

Unfortunately,  material  limitations  make  it  necessary 
that  these  types  of  instrumental  music  be  treated  one  at  a 
time,  but  it  should  not  be  so  in  presentation  to  the  children. 
As  a  problem,  of  course,  rhythm  conies  first,  but  nothing  is 
further  from  our  minds  at  this  time  than  problems.  We 
desire  only  that  the  child  may  be  attracted  sufficiently  to 
want  to  listen,  and  to  like  what  he  hears. 

Something  descriptive  of  things  in  his  own  world  may 
catch  his  attention  first,  or  he  might  be  delighted  with  a 

to»  C4  *°» 


INSTRUMENTAL    MUSIC 

happy  rhythm  or  a  lovely  tune,  just  because  it  is  lovely.  Who 
is  to  say  which?  Let  the  response  of  the  children  answer. 

Rhythmic  instrumental  music,  which  is  to  be  used  in 
awakening  rhythmic  sense  and  in  securing  active  expres- 
sion from  children,  has  been  fully  treated  in  the  chapter  on 
rhythm.  There  are  many  lovely  compositions,  however, 
whose  charming  rhythm  attracts  and  delights  the  little 
people  (and  "grown-ups"  as  well).  They  love  to  listen  to 
such  compositions  as  the  Humoresque,  and  happy  little 
voices  often  say,  "Isn't  it  pretty!" 

Such  rhythmic  selections  (including  several  previously 
used  for  free  expression),  which  we  suggest  should  be  en- 
joyed for  their  sheer  beauty,  will  be  presented  with  other 
music  the  appeal  of  which  is  purely  aesthetic. 

DESCRIPTIVE  AND  IMITATIVE  MUSIC 

Little  children  love  a  story,  and  music  that  tells  a 
story  within  their  comprehension  appeals  to  them  strongly. 
Such  music  should  at  first  be  so  clearly  imitative  of 
sounds  from  nature  and  human  life  familiar  to  the 
child  that  his  immediate  interest  will  be  aroused, 
concentration  stimulated,  and  mental  alertness  and  power 
of  perception  developed  as  the  basis  for  later  appreciation 
of  music  more  abstract  in  character. 

It  should  not  be  inferred,  however,  that  descriptive 
music  is  of  value  and  interest  merely  as  preparatory  to 
music  of  aesthetic  appeal.  It  is  valuable  and  interesting 
for  its  own  sake,  and  in  it  children's  imaginations  should 
find  stories  as  compelling  in  interest  as  those  they  hear 
in  the  language  of  words. 

It  is  sometimes  questioned  whether  music  has  power  to 
tell  stories  unaided  by  suggestion.  Recent  experiments, 

eO»     65     'jcn 


MUSIC    APPRECIATION 


however,  go  far  to  prove  that  little  children,  entirely 
unaided  by  question  or  suggestion,  will  generally  give 
evidence  of  having  received  the  impression  intended  by  the 
composer.  If,  in  addition  to  the  title,  a  few  words  of 
suggestion  as  to  the  setting,  atmosphere,  or  color  be  given, 
the  greatest  enjoyment  is  evidenced  by  the  children  in 
telling  what  the  music  means  to  them  personally. 


The  Swan^45096 

This  celebrated  composition  by  the  noted  French 
composer  Saint-Saens  (Sanh'-Sahn)  is  an  excellent  ex- 
ample of  descriptive  music  which  is  also  replete  with 
poetic  beauty.  It  is  from  the  suite,  The  Carnival  of 

Animals,  in  which  Saint- 
Saens  pictured  in  tone 
the  portraits  and  habits 
of  certain  birds  and 
animals. 

The  smoothly  flowing 
melody    sung     by     the 
broad-toned  'cello  repre- 
sents the  swan  as  it  glides 
gracefully  over  the  placid 
lake,  the  peaceful  silence 
broken  only  by  the  ripples 
of  the  water  on  the  stones 
suggested  by  the  delicate 
piano  accompaniment. 
Can  you  tell  when  the  swan  pauses  and  raises  his  head? 
Where  do  you  find  a  picture  of  a  sparkling  little  waterfall? 
This  selection  may  be  associated  with  the  familiar  story  of 
The  Ugly  Duckling. 

•a*  66  <e* 


DESCRIPTIVE    MUSIC 


At  the  Brook— 64103 

This  charming  tone  picture  of  a  brook  rippling  over  the 
smooth  pebbles  is  characterized  by  a  flowing  melody 
played  on  the  violin,  accompanied  by  the  harp.  What 
does  the  violin  describe?  The  harp?  Note  how  pleasing 
variety  is  secured  by  repetition  of  the  main  theme  in 
varying  pitch  and  keys.  What  is  the  artistic  purpose  of 
the  violin  cadenza?  Does  the  music  suggest  that  in  places 
the  brook  runs  more  smoothly  than  in  others? 

By  the  Brook— 17844 

(See  analysis  of  Record  No.  64103.) 

This  is  an  attractive  arrangement  for  violin,  'cello,  and 
piano. 
The  Bee— 64076 

This  delightful  little  piece  of  musical  description  was 
written  for  the  violin  by  Frangois  Schubert,  a  violinist 
of  Dresden,  not  the  famous  song  writer  of  Vienna.  The 
music  represents  the 
buzzing  of  the  bee  as  it 
darts  from  flower  to 
flower  in  search  of  the 
sweetest  honey.  The 
buzzing,  uneven  rhythm, 
and  the  constant  altera- 
tions in  pitch  picture 
the  erratic  flight  of  the 
busy  little  creature .  Two 
pizzicato  chords  at  the 
close  tell  us  that  the  bee 
has  found  the  flower  which 
contains  the  honey  he 
seeks,  and  has  disap- 
peared from  sight. 

•at   67    tat 


MUSIC     APPRECIATION 


Minute  Waltz— 64076 

The  Mimde  Waltz  is  so  called  because  it  can  be  played 
within  the  space  of  a  minute.  The  French  call  it  The 
Little  Dog  Waltz  because  of  the  story  of  how  the  pianist 
Chopin  (Show-pahri)  came  to  compose  it.  Chopin  and 

George  Sand,  the 
famous  woman 
novelist,  were  one 
day  amused  at  the 
antics  of  a  little 
dog  whirling  mad- 
ly around  trying 
to  catch  its  tail. 
"Had  I  your  nim- 
ble fingers,"  said 
the  lady  to  Cho- 
pin, "I  should  com- 
pose a  waltz  for 
the  little  fellow!" 
Acting  on  this 
playful  suggest  ion , 
the  composer  went  to  the  piano  and  played  this  dainty 
number,  which  pictures  the  rapid  whirlings  of  the  little 
dog.  Sometimes  the  music  suggests  that  the  dog  is  be- 
coming dizzy  and  nearly  loses  his  balance.  Very  small 
children  will  be  able  to  tell  when  the  music  says  the 
little  dog  is  chasing  his  tail,  when  he  is  resting,  and 
when  he  again  catches  sight  and  starts  the  chase  of  the 
elusive  tail.  Such  theme  recognition  is  the  first  step 
toward  later  work  in  musical  form.  Maud  Powell 
arranged  this  selection  for  violin. 

The  Bee  and  the  Minute  Waltz  are  presented  in  detail 
in  the  model  lessons  for  first  grade. 


DESCRIPTIVE    MUSIC 


Teddy  Bears'  Picnic— 16001 

This  is  a  prime  favorite 
with  the  "littlest  ones."  The 
slow  march  time  with  clock- 
like  rhythm  strongly  accented 
makes  the  selection  excellent 
for  free  expression.  The  bears 
are  having  as  noisy  a  picnic  as 
ever  did  little  children,  and 
every  child  delights  in  the  de- 
licious fearsomeness  of  the  very 
realistic  teddy-bear  growls. 


March  of  the  Toys— 55054 


In  his  fantastic  light  opera, 
Babes  in  Toyland,  Victor  Her- 
bert brings  to  life  the  gay 
personalities  of  the  toy  shop. 
With  the  first  fanfare  of  little 
tin  horns  at  the  opening  of 
this  jolly  march,  we  can  pic- 
ture the  parade  of  animals  and 
dolls  and  tin  soldiers,  with  all 
the  tinsel  and  pomp  of  their 
bizarre  little  world. 


In  a  Clock  Store— 35324 

"I  want  to  ask  you  a  riddle.  The  word  'riddle'  means 
a  'question,'  and  I  wonder  if  you  can  guess  this  one. 
What  is  it  that  has  a  round  face  and  two  hands — only  it 
doesn't  wear  its  hands  at  its  side  as  we  do,  but  they  grow 

«0»  G9  «*> 


MUSIC    APPRECIATION 


right  out  of  the  middle  of  its  face?  Who  knows?"  (If 
only  one  child  raises  his  hand,  as  is  often  the  case,  let 
him  whisper  to  you,  and  have  it  a  secret  with  you  till 
others  find  it.  Sometimes  it  may  be  necessary  to  hint, 
by  suggesting  that  there  is  one  on  the  wall  somewhere  in 
the  room.  When  all  the  children,  through  the  guessing, 
have  become  thoroughly  interested  in  clocks,  continue.) 

"Let  us  play  that  we  go 
into  a  clock  store  and  see 
how  many  kinds  of  clocks 
we  can  find." 

(Play  In  a  Clock  Store.} 
The  "tick-tocks"  immedi- 
ately attract  the  children, 
but  in  the  case  of  very 
small  children  the  little 
minds  soon  wander.  (Since 
our  purpose  at  this  time 
is  to  create  an  atmosphere 
of  active  listening,  it  has 
been  found  valuable  to 
stop  the  record  after  the 
first  section  and  lead  the 

little  minds  with  some  such  conversation  as  the 
following.)  "Now,  I  want  to  tell  you  a  story  about 
this  clock  store  where  we  are.  There  is  a  little  boy 
who  works  in  this  store  and  he's  the  happiest  little 
fellow  you  ever  saw,  and  every  morning  when  he  comes 
to  work  he  just  throws  his  head  back  and  whistles, 
oh,  so  happily!  Now  it  would  be  nice  if  we  could  see  this 
little  boy  when  he  comes  to  work,  but  we  can't  see  him  at 
all.  Can  we?  How  will  we  know  when  he  comes  to 
work?"  (Often  the  children  do  not  think  of  perceiving 

too  70  «» 


DESCRIPTIVE    MUSIC 


through  hearing.)  "What  else  have  we  to  use  besides  our 
eyes  ?  Yes,  and  if  we  use  our  ears  what  shall  we  hear 
when  the  boy  comes  to  work?  We  shall  hear  him  whistle. 
Now,  when  your  ears  tell  you  the  boy  has  come  to  work 
you  may  wave  good-morning  to  him."  (Let  record  play 
until  the  children  have  greeted  the  boy,  after  which  one 
might  continue  the  visit  in  the  clock  store  in  the  following 
manner.) 

"  But  one  night  the  boy  forgot  something  that  he  ought 
to  do.  You  know  what  it  means  to  forget,  for  I'm  sure 
your  mammas  have  told  you  to  do  things  which  you  have 
forgotten  to  do.  Well,  this  little  boy  forgot  something, 
and  I'm  not  going  to  tell  you  what  it  was  at  all, 
and  we  shall  see  if  your  ears  can  tell  you  what  he 
forgot  to  do." 

(If  their  ears  fail  to  tell  them,  as  will  be  the  case  with 
many  primary  children,  do  not  tell  them,  or  allow  the 
unusually  bright  child  to  do  so,  for  all  may  be  helped  to 
sense  the  fact  that  the  clocks  run  down,  by  playing 
"tick-tock.")  Place  right  elbows  on  desk  and  swing  arms 
to  music,  being  very  careful  to  listen  and  to  stay  with  the 
" tick-tocks " ;  (then  suddenly  ask):  "What  happened  to 
your  tick-tock?  It  stopped.  And  what  is  the  matter  with 
a  'tick-tock'  if  it  stops,  when  it  isn't  broken?  After  the 
clocks  are  wound,  one  of  them  strikes  a  little  tune  that  you 
know."  Several  children  will  quickly  recognize  the  scale, 
but  ask:  "Did  it  sing  do,  re,  mi,  or  begin  at  the  top  and 
sing  do,  ti,  la,  etc.?"  (And  so  continue  on  through  the 
record,  allowing  the  children  to  discover  definite  things  for 
themselves  through  their  own  active  listening,  such  as 
what  time  was  it?  What  kind  of  shoes  did  he  wear? 
How  many  kinds  of  clocks  can  you  hear?  What  is  the 
largest  one?  etc.,  etc.) 

to»  71  •*" 


MUSIC     APPRECIATION 


Patriotic  Medley— 35657 

"If  you  would  do  what  that  music  tells  you  to  do, 
what  would  you  do?  (Play  only  the  introduction  by  bugle 
and  drums.)  March.  Well,  if  it  is  a  march,  who  is  march- 
ing? Why  did  you  say  soldiers  and  not  school  children? 
What  did  you  hear  that  made  you  think  of  soldiers?" 
(Even  first  grade  children  will  have  discovered  in  one 
hearing  that  it  was  bugle  and  drums.  With  third  grade 
children  and  older,  they  may  be  asked  to  give  the  piece  a 
name  that  will  tell  in  words,  not  more  than  two  or  three, 
what  the  music  says.  Such  work  furnishes  an  excellent 
drill  for  clear  thinking  and  concise  oral  English  work. 
Often  such  answers  as  the  following  are  given :  "  Military 
March,"  "Victory  March,"  "On  to  Victory,"  and  many 
others  which  accurately  convey  the  spirit  of  the  music. 

Theme  for  High-Stepping  Horses— 18253 

Perhaps  the  children  have  been  permitted  to  be  high- 
stepping  horses,  marching  around  the  room  to  music  in 
the  kindergarten  or  first  grade,  but  in  cases  where  this 
has  not  been  done,  it  is  interesting  to  present  such  music 
with  contrasting  compositions  in  the  second  or  third 
grades,  for  the  children's  discrimination.  The  imagination 
may  be  directed  by  telling  a  story  for  the  first  one,  and 
afterward  let  their  imagination  have  full  play. 

"Have  you  ever  been  to  a  circus?  And  when  you  were 
there  did  you  see  a  lady  riding  a  horse  that  kept  step  to 
the  music?  I  think  this  music  will  tell  us  about  that 
beautiful  proud  horse."  Children  may  express  the  feeling 
of  the  music  by  "stepping"  with  the  arms  on  the  desk. 
When  the  feeling  for  the  high-stepping  horses  is  clearly 
established,  suddenly  give  contrasting  rhythm  such  as 
Running  Reindeers,  also  on  Record  18253:  "What  is  this 


DESCRIPTIV  E    MUSI  C 


horse  doing?"  With  little  children  it  is  sufficient  that  they 
know  he  is  running,  because  the  music  is  much  faster. 
Older  children,  continuing  the  oral  English  drill,  will  sug- 
gest such  names  as  "Running  Horses,"  "The  Race," 
"Cavalry  March,"  "A  Gallop,"  and  many  others. 


Wild  Horseman— 18598 

The  Wild  Horseman  is  another  number  which  will  sug- 
gest a  running  horse. 

It  also  suggests  the  idea  of  a  race,  or  a  chase,  if  the  at- 
tention is  directed  to  the  two  themes  which  alternate. 
Little  Hunters— 18598 

The  call  of  the  little  hunting  horns,  and  the  sound  of 
the  horses'  hoofs  as  they  clatter  along  in  the  happy  little 
gallop  which  follows,  presents  a  very  simple  and  definite 
picture  of  the  hunt.  In  the  nursery  or  kindergarten, 
children  will  enjoy  really  going  to  the  hunt  on  stick  horses. 

ten   73    «w 


MUSIC    APPRECIATION 


The  Whirlwind— 18684 

In  this  number  the  flute  gives  us  a  very  realistic  imita- 
tion of  a  capricious  little  whirlwind,  as  it  plays  and  scamp- 
ers along,  and  finally  flies  away,  in  great  glee  over  its 
pranks. 

Of  a  Tailor  and  a  Bear— 18598 

The    title    Of   a    Tailor  and  a  Bear  was  no  doubt 
suggested  to  Mr.   MacDowell  by  the 
old  Grimm  fairy  tale  of  the  same 
name.     His    "music 
story"  does  not  ad- 
here literally  to  the 
printed    one,  but  is 
merely     an    episode 
suggested  by  the 
title. 

The  interpreta- 
tions which  children 
draw  from  the  music, 
when  given  merely 
the  title,  are  indi- 
vidual and  interest- 

ing.     Such    episodes 

as    the    music    sug- 
gests are  presented  in  "Model  Lessons,"  page  91. 

The  Spinning  Song,  on  the  same  record,  is  a  simple 
and  clear  rhythmic  imitation  of  that  which  the  title 
suggests. 

Rock-a-bye,  Baby— 18664 

Such  numbers  may  be  used  in  the  little  game  of  "guess- 
ing what  the  music  says."  The  thought  content  is  perhaps 
clearer  if  the  previous  numbers  were  in  sharp  contrast, 

un   74    «» 


DESCRIPTIVE    MUSIC 


such  as  the  types  which  children  would  call  "Victory 
March,"  or  "Running  Horses."  When  asked  what  this 
music  says,  children  often  give  such  irrelevant  answers  as 
"violin"  (although  it  might  happen  to  be  a  'cello  or  viola). 
It  must  be  remembered  that  our  interest  at  this  time  is 
not  in  the  instrument  as  such,  and  the  teacher  should  post- 
pone discussing  the  instrument.  "Yes,  but  what  does  the 
violin  say  to  you?  What  does  it  tell  you  to  do?  Can  I  call 
this  one  'Victory  March,'  or  'Galloping  Horses'?" 

They  will  soon  discover  that  it  does  not  say  to  do  any- 
thing, but  to  be  still  and  listen,  and  someone  will  say  it 
sounds  like  a  sleepy  song.  Teach  the  word  "lullaby,"  and 
allow  them  to  listen  to  the  lovely  lullaby  as  if  they  were 
really  going  to  sleep. 

Such  a  number  at  the  close  of  the  listening  lesson 
leaves  the  children  composed  and  quiet. 

"  Wouldn't  it  be  nice  if  we  could  be  as  quiet  and  sweet 
all  day — like  that  lovely  lullaby?" 

NOTE — Interpretations  of  other  numbers  in  the  following  list 
of  descriptive  pieces  are  suggested  by  the  titles  with  which  the  com- 
poser has  labeled  them: 

DESCRIPTIVE 

Of  a  Tailor  and  a  Bear 
Patriotic  Medley 
Rock-a-Bye,  Baby 
Running  Reindeers 
Spinning  Song 
Spring  Voices 
Swan,  The 
Teddy  Bears'  Picnic 
Theme  for  High-Stepping 

Horses 
Twilight 
Waltzing  Doll 
Whirlwind,  The 
W'hispering  Flowers 
Wild  Horseman 


At  the  Brook 

Bee,  The 

Birds  of  the  Forest 


Butterfly,  The 

By  the  Brook 
Danse  Chinoise          \ 
Danse  des  Mirlitons  ) 
Dans  les  Bois 
Evening  Chimes 
Fountain,  The 
From  an  Indian  Lodge 
In  a  Clock  Store 
Little  Hunters 
March  of  the  Toys 
Minute  Waltz 


45053 

74395 
18018 
70031 
17035 
35324 
18598 
55054 
64076 


18598 
35657 
18664 
18253 
18598 
16835 
45096 
16001 

18253 
17784 
64734 
18684 


Will-o'-the-Wisp 
Wren,  The 


18598 
74183 


*  Record  in  preparation. 


75 


MUSIC     A  P  I»  II  K  C  I  A  T  I  O  N 


FANCIFUL  CONCEITS,   MOODS,   AND 
ASSOCIATIONS 

Since  music  is  the  language  that  begins  where  the  power 
of  the  spoken  word  ends,  it  is  obviously  impossible  to  im- 
pose upon  it  arbitrary  classifications.  The  universal  appeal 
of  highly  developed  instrumental  music  is  no  doubt  due 
to  the  fact  that  its  indefiniteness  permits  of  many  inter- 
pretations as  varied  as  the  life  experiences  and  moods  of 
the  hearers. 

When  Beethoven  wrote  the  Pastoral  Symphony,  with 
its  almost  visible  pictures  of  the  brook,  the  storm,  the  calm, 
and  its  clear  imitation  of  sounds  in  nature,  he  appended  to 
the  score  words  which  have  been  translated:  "More  an 
expression  of  feeling  than  of  painting." 

There  are  many  feelings  which  are  both  the  cause  and 
the  result  of  music:  feelings  which  associate  themselves 
with  the  morning,  or  the  evening,  with  tangible  sights  of 
nature  or  abstract  moods. 

These  emotions  give  rise  to  both  the  creative  and  inter- 
pretative elements  in  art — in  pictures,  word-poetry,  or 
any  of  the  accepted  art  forms.  Many  more  of  them  than 
people  suppose,  off-hand,  are  within  the  experience  of  very 
little  children.  They  instinctively  respond  to  the  vigor  of 
a  military  march,  or  are  quieted  by  the  influence  of  a 
lullaby  long  before  they  know  the  meaning  of  the  words 
"vigor"  or  "repose." 

Songs  are,  or  should  be,  the  expression  of  an  emotion  in 
bofh  poetry  and  music. 

Suggestions  for  integrating  the  mood  of  pictures  and 
music,  and  of  poems  and  music,  appear  in  the  Correlation 
chapter. 

ay*   7(i    =-0° 


FANCIFUL     ASSOCIATIONS 


The  following  list  is  suggestive  of  fanciful  associations 
of  moods  and  music,  or  "atmosphere,"  that  are  suited  to 
the  appreciation  of  little  children. 

Awakening,  or  Morning 

Hark!  Hark!  the  Lark  64218 

Joy  of  the  Morning  17693 

Morning     (Grieg)  35470,  35007 

NOTK — To  borrow  Beethoven's  phrase,  Morning  from  the  Peer 
Gynt  Suite  is  "more  an  expression  of  feeling  than  of  painting,"  and 
would  have  to  be  so  used  here,  as  the  composition  really  depicts  the 
coming  of  day  over  the  statue  of  Memnon  which  Peer  sees  in  Egypt, 
far  away  from  his  Norwegian  home.  The  legend  of  how  the  statue 
sings  with  the  rising  sun  must  necessarily  be  reserved  for  later  work. 
Birds,  whistling,  etc.,  expressive  of  the  awakening  sounds  of 
Nature,  may  be  found  in  Correlation  with  Nature. 

Courage  and  Patriotism 
March  Militaire  35493 

Patriotic  Medley  March         35608 
Polonaise  Militaire  35241 

See,  the  Conqu'ring  Hero 

Comes  18655 

Delicacy  and  Daintiness 

Dance  of  Happy  Spirits  74567 

March  Miniature  64766 
Overture — Midsummer 

Night's  Dream  35625 

Praeludium  18323 

Serenade  (Pierne)  45158 

Waltzing  Doll  64734 
Whispering  Flowers 

Evening 

All  Through  the  Night  74100 

Birds  in  the  Night  18622 

Evening  Chimes  18018 

Hush,  My  Babe  18622 

Lullaby  from  "Erminie"  18622 

Rock-a-bye,  Baby  18664 

Twilight  17784 


Calm,  Contentment,  Peace, 

Quiet,  Rest 

All  Through  the  Night 
Berceuse 

74100 
17454 

Birds  in  the  Night 
Hush  My  Babe 
Lullaby  from  "Erminie" 

18622 
18622 
18622 

Nocturne  in  E  Flat 

74052 

Pastoral  Symphony 
Rock-a-bye,  Baby 
Silent  Night 
The  Swan 

35499 
18661. 
17842 
45096 

Traumerei 

45102 

Wild  Rose 

17691 

Capricious,  Playful 

Badinage  70053 

Capricieuse  64760 

Humoresque  17454  or  74180 

Minute  Waltz  64076 

Sylvia  Ballet — Pizzicato  * — 

Whirlwind  18684 

Cheer,  Gaiety,  Joy,  Happiness, 
Mirth 

At  the  Brook  64103 

Ballet  from  "  Rosamunde"  64670 

Danse  des  Mirlitons  45053 

Moment  Musical   18216  or  74202 

Praeludium  18323 


Fairies 

(See  "Delicacy  and  Daintiness") 


*  Record  in  preparation. 


77    too 


MUSIC    APPRECIATION 


PURE  MUSIC  FOR  ESTHETIC  ENJOYMENT 

There  remains  the  great  field  of  quiet  enjoyment  of 
instrumental  compositions,  which  are  cultural  through 
their  inherent  beauty  of  thought,  form,  and  expression, 
and  which  everyone  loves  just  because  they  are  beautiful. 

The  public  school  classroom  in  this  great  democracy 
of  ours  presents  a  strange  and  varied  problem.  There  are 
the  children  from  the  homes  of  the  rich  and  poor  alike, 
often  representing  many  nationalities.  Some  have  brought 
their  excitement  from  the  playground,  others  have  brought 
a  little  heartache  from  home.  One  has  a  toy;  one  has  been 
scolded;  another  is  tardy.  Perhaps,  even  the  teacher  her- 
self may  be  all  too  tense  to  accomplish  easily  the  task  of 
somehow  unifying  these  little  minds  and  of  ruling  her  own 
spirit  for  the  daily  round  of  studies.  What  more  potent 
ally  could  she  find  than  a  beautiful  piece  of  music? 

Some  schools  have  adopted  the  habit  of  a  "silence 
period"  at  the  beginning  of  the  day,  during  which  just  one 
beautiful  number  is  played.  It  might  be  practical  to  place 
the  Victrola  in  the  center  hall  for  this  work,  allowing  all 
classes  which  are  conveniently  situated  to  listen  at  once. 
If  there  is  not  an  instrument  for  each  floor,  an  alternate 
day  plan  could  be  arranged.  The  teacher  of  the  class 
which  is  to  hear  the  music  could  tell  on  her  blackboard 
the  name  of  the  selection  to  be  played.  Others,  who  dare 
not  take  a  few  minutes  from  the  so-called  "necessary 
subjects,"  play  such  music  ten  minutes  before  the  opening 
of  school.  It  is  not  obligatory  that  the  children  should 
attend,  but  they  are  there,  and  the  day  begins  happily  and 
with  no  confusion. 

Certainly  hearing  and  enjoying  music  just  because  it  is 
beautiful  should  be  a  part  of  every  appreciation  lesson. 

•°»  78  «» 


PURE    MUSIC 


If  we  learn  to  read  by  reading,  then  we  learn  to  appreciate 
by  appreciating.  An  appreciation  course  should  not  be 
motivated  by  the  "getting  ready"  idea,  but  should  be 
always  an  enjoyment  of  music  now. 

A  child,  or  a  musically  uneducated  person,  is  limited  in 
his  ability  to  listen  to  and  to  appreciate  intricate  and  com- 
plex music,  but  his  enjoyment  of  things  within  his  compre- 
hension is  without  alloy.  The  habit  of  listening  for  pure 
enjoyment  is  of  the  utmost  importance,  and  if  established 
in  school,  it  will  remain  a  lifelong  benison. 

Although  we  have  no  conscious  problems  in  mind  at 
this  time,  certain  "by-products"  will  inevitably  result 
from  such  acquaintance  with  the  beautiful. 

A  trained  ear  and  an  ability  to  distinguish  themes  are 
natural  consequences,  and  the  power  of  theme  recognition 
is  a  fundamental  prerequisite  for  the  later  study  of  musical 
form  and  other  phases  of  "listening  to  learn." 

Repeated  hearing  of  music  in  the  earlier  years  insures  a 
wide  acquaintance  with  many  masterpieces,  which  is  the 
objective  of  the  popular  and  meritorious  Music  Memory 
Contest,  and  the  standard  set  by  hearing  these  master- 
pieces interpreted  by  Victor  artists  furnishes  a  model  in 
interpretation  and  tone  quality  for  the  later  performance 
of  these  selections  by  the  children.  Such  contests  function 
in  home,  school,  and  club  life.  Often  music  clubs  and 
musicians  gladly  cooperate  in  focusing  attention  on  the 
special  selections.  After  all,  as  Theodore  Thomas  said, 
"Popular  music  is  familiar  music." 

Simple  and  beautiful  masterpieces  for  such  cultural 
listening  are  abundant.  The  list  we  have  carefully  selected 
includes  many  whose  charm  lies  in  their  rhythm,  and  others 
that  are  dearly  loved  for  their  beautiful  melodies,  and 
sometimes  for  both. 

«»  79  ca* 


M  II  S  I  C  A  P  P  R  E  C  I  A  T  I  O  X 


PURE  MUSIC  OF  AESTHETIC  BEAUTY 

Pastoral  —  Merrymakers  18164 
Pirouette  18223 

Praeludium  (Jarnefelt)  18323 

Reconciliation  Polka  (Drigo)  35644 
Rigaudon  (Monsigny)  64201 

Rigodon — Rameau  67201 

Rondino  (Beethoven- 

Kreisler) 

Salut  d'Amour  (Elgar) 
Scherzo  (Dittersdorf) 
Serenade  (Pierne) 
Serenade  (Tosti) 
Serenade  (Schubert)  \ 
Serenade  (Titl)  j 

Shepherd's  Dance  (German)  35530 
Shepherd's  Hey  (Grainger)  17897 
Silent  Night  17842 

Souvenir     (Drdla)  64074 

Spanish  Dance  (Sarasate)  74366 
Spring  Song  (Mendelssohn)  18648 
Sylvia  Ballet 

To  a  Wild  Rose  (MacDowell)  17691 
Traumerei  (Schumann)  45102 


Ballet  "Rosamunde" 

64670 

Berceuse  from  "Jocelyn" 

17454 

Cupid's  Garden 

18018 

Christmas  Hymns 

18389 

Cinquantaine,  La  (Marie) 

(18296 
\18223 

Fedora  Gavotte 

17681 

Gavotte  (Aletter) 

18243 

Gavotte  (Gossec) 

74444 

Gavotte  (Gretry) 

64198 

Humoresque  (Dvorak) 

(74180 

\17454 

Idyll 

17681 

Isoline  Ballet  Valse 

67201 

Liebesfreud  (Kreisler) 

74196 

Menuett     (Handel) 

64841 

Minuet  (Beethoven) 

74444 

Minuet  (Boccherini) 

(18049 
\64614 

Moment  Musical 

74202 

Musette  (Gluck) 

18314 

Narcissus  (Nevin) 

17472 

Noel 

17842 

64600 
64373 
74294 
45158 
17472 

16995 


That  theme  recognition,  memory  repertoire,  interpre- 
tation and  tone  quality  may  be  further  insured,  and  be- 
cause instinctively  we  love  to  hum  these  beautiful  melodies, 
we  are  carrying  further  the  idea  inaugurated  in  "Beginning 
Cultural  Hearing."  The  simple  selections  listed  there 
will  be  found  attractive  here  also. 


Andante  (Haydn  Surprise)  ' 
Andante  (Beethoven  Fifth)  * — 
All  Through  the  Night  74100 
Berceuse  from  "Jocelyn"  17454 
Birds  in  the  Night  18622 
Drink  to  Me  Only  17691 
How  Lovely  are  the  Mes- 
sengers 1 8655 
Humoresque  17454 
If  With  All  Your  Hearts  18655 
Largo — New  World 


Le  Cygne  45096 

Lullaby  (Brahms)  18664 

Lullaby  from  "Erminie"  18622 

My  Old  Kentucky  Home  18127 

Old  Black  Joe  17674 

Old  Folks  at  Home  17674 

Pastoral  Symphony  18655 

Salut  d'Amour  (Elgar)  64373 

See  the  Conqu'ring  Hero  18655 

Spring  Song  (Mendelssohn)  18648 

Sweet  and  Low  18664 


Special  record  in  preparation. 


1'  U  U  E    MUSIC 


All  Through  the  Night* 


Berceuse  from  "Jocelyn"     17454 


Birds  in  the  Night     18622 

If  With  All  Your  Hearts     18655 


=^ 


Melody  in  F     45096 


Old  Black  Joe     17674 


Old  Folks  At  Home     17674 


See,  the  Conqu'ring  Hero  Comes     18655 


Sweet  and  Low     18664 

F=I==I*^= 


==)"= 


*  Record  in  preparation. 


81 


SUGGESTED  LESSONS 

EALIZING  the  difficulty  of  the  kindergarten 
and  primary  teacher  in  selecting  numbers 
for  a  definite  lesson  from  the  mass  of 
material  now  available,  and  realizing,  too, 
her  eagerness  for  suggestions  in  actually 
presenting  the  records,  we  submit  three 
little  lessons  each  for  kindergarten,  first,  second,  and  third 
grades,  respectively.  These  may  be  taken  simply  as 
suggestions,  and  the  general  ideas  may  be  used  in  the 
planning  and  presentation  of  other  lessons. 

SUGGESTED  LESSONS  FOR  KINDERGARTEN 

LESSON  I 

MOTHER  GOOSE     (Dramatic  Song)  17004 

LULLABY — HUSH,  MY  BABE     (Listening  and  Humming)  18622 

CUPID  AND  THE  BUTTERFLY     (Free  Expression)  35532- B 

LESSON  II 

SERENADE     (Moszkowski)     (Listening)  64281  or  64576 

TEDDY  BEARS'  PICNIC    (Descriptive  Listening  and  Suggested 

Expression)  16001 

THE  BUNNY     (Listening)  17776 

LESSON   III 

WILD  HORSEMAN     (Descriptive)  18598 

RIDE  A  COCK  HORSE     (Dramatic  Song)  17004 

SYLVIA  BALLET — PIZZICATO     (Free  Expression) 
THEME  FOR  HIGH-STEPPING  HORSES — SKIPPING  MOTIVE 

(Suggested  Expression)  18253 

LESSON  I 

How  would  you  like  to  play  we  are  having  a  party? 
Only  we  aren't  going  to  have  anything  to  eat.  Maybe 
you  will  not  like  my  party  if  we  don't  have  anything  to 
eat,  but  this  is  a  new  kind  of  party.  Instead  of  having 

*  Record  in  preparation. 

•tn   82    itn 


SUGGESTED    LESSONS 


something  to  eat,  we  are  going  to  have  something  to  hear. 
Now,  isn't  that  a  funny  kind  of  party ! 

First  of  all,  I  have  asked  a  lady  to  sing  for  us.  I  have 
asked  her  to  sing  about  somebody  you  know.  I  think 
you  know  him — do  you? 

Mother  Goose— 17004 

(Play  enough  of  Little  Jack  Homer  on  17004  for 
children  to  recognize.) 

Whom  is  she  singing  about?  Yes,  I  thought  you  knew 
him.  Now,  let's  listen  to  the  whole  song  about  Little 
Jack  Horner.  (Play  song  through.) 

Where  was  Jack  Horner?  What  was  he  doing?  Yes, 
he  had  something  to  eat,  didn't  he?  Was  he  a  good  boy? 
Let  me  see  how  good  you  think  you  are.  (Suggest  expres- 
sion— thumbs  in  arm  holes  and  swell,  as  with  great 
pride.) 

Let's  pretend  we  eat  pie  with  Little  Jack  Horner. 
(Play  song  through  again,  this  time  leading  in  its  dramati- 
zation.) 

Little  Jack  Horner  is  one  of  Mother  Goose's  children, 
and  she  has  the  most  stories  for  her  little  girls  and  boys. 
This  is  one  of  them.  Have  you  heard  it?  (Play  Hey, 
Diddle,  Diddle— 17004.) 

Who  can  tell  me  that  story?  Yes,  the  cat  had  a  fiddle, 
and  what  a  good  time  they  did  have.  Do  you  think  the 
cow  liked  the  music?  How  well?  And  did  the  little  dog 
like  it?  And  what  did  the  dish  do? 

And  after  he  has  eaten  his  supper  and  heard  Mother 
Goose's  story  about  all  these  things  that  happened  when 
the  cat  played  his  fiddle,  Little  Jack  Horner  is  ready  to 
hear  this  kind  of  music. 

*»  83  «» 


MUSIC     A  1»  1'  II  E  C  I  A  T  I  0  N 


Lullaby— Hush,  My  Babe  -18622 

(Play  record  through  first  strain.) 

What  does  it  make  us  feel  like  doing?  Yes,  it  does 
make  us  feel  sleepy,  doesn't  it?  Let  us  put  our  heads 
down  and  listen  to  this  beautiful  music  as  if  we  were 
really  going  to  sleep.  (Play  record  through.) 

I  suspect  Little  Jack  Homer  is  almost  asleep.  If  we 
would  hum  very  softly  I  think  he  would  go  sound  asleep. 
(Hum  with  record.) 

Cupid  and  the  Butterfly— 35532-B 

Now  it  is  night.  The  babies  are  asleep,  and  the  good 
fairies  come  to  play.  Let  us  listen  to  this  music,  and  see 
if  you  can  tell  what  it  says  to  do. 

(Play  only  the  first  part  of  the  record,  which  consists 
of  a  short  introduction  and  one  strain  repeated.)  Repeat 
the  music  until  the  children  have  surely  sensed  the 
rhythm,  and  want  to  try  to  express  it. 

You  may  all  dance  with  the  music,  and  do  whatever 
it  tells  you  to  do.  (If  the  interpretations  are  uncertain, 
stop  and  have  them  listen  over,  and  over,  and  over,  but 
if  the  work  is  free  expression  the  teacher  must  not  make 
suggestions  under  any  circumstances.  When  the  children 
have  received  a  message  from  the  music,  and  are  able  to 
attempt  to  express  it,  they  will  instinctively  watch  each 
other.) 

Now  let's  watch  Donald  do  it.  That  was  very  nice. 
Mary,  will  you  do  it  for  us?  You  liked  Mary's  best? 
Yes,  she  was  much  more  quiet,  but  she  didn't  stop  when 
the  music  did.  You  think  Donald  keeps  with  the  music 
better?  The  music  told  Donald  to  skip,  and  Mary  to 
fly,  didn't  it?  Emma's  hands  and  arms  were  much  more 
like  birds'  wings  than  Mary's  were,  I  think. 

«ee  04  <09 


SUGGESTED    LESSONS 


Yes,  Edward,  you  may  try  it.  Oh,  what  a  pretty  bow 
Edward  made  just  before  he  began  to  dance!  He  must 
have  thought  he  was  a  fairy  that  came  to  dance  for  us. 

(Through  such  discussion  several  details  will  be  brought 
out.  The  children  with  less  initiative  will  have  received 
suggestions  and  courage  to  try  again.) 

LESSON   II 

Perhaps  you  have  been  to  a  concert  sometime  with 
your  papas  and  mammas.  This  morning  we  are  going  to 
have  a  concert  right  here  in  our  own  little  kindergarten. 
A  lady  will  play  a  violin  solo  for  us.  We  cannot  see  her, 
but  she  loved  little  boys  and  girls  like  you,  and  loved  to 
play  for  little  people,  so  we  must  be  just  as  still  and  polite 
while  the  music  plays  as  if  she  were  really  here. 

Serenade— 64281  or  64576 

(It  is  better  to  play  only  first  part,  unless  the  children 
are  able  really  to  listen  to  the  entire  selection.) 

Teddy  Bears'  Picnic— 16001 

The  next  music  we  are  going  to  hear  has  something  in 
it  that  you  would  like  to  have  for  a  toy.  You  like  a  train? 
A  dolly,  etc.  (Allow  children's  discussion  to  anticipate  wrhat 
toy  this  one  may  be.)  See  if  you  can  tell  what  this  sounds 
like.  (Play  enough  of  record  for  children  to  find  the 
bears,  and  to  recognize  them  again.) 

I  think  these  Teddy  Bears  are  going  to  a  picnic. 
Let's  pretend  we  are  going  to  the  picnic,  too.  Be  sure 
to  listen  to  the  music,  and  keep  with  the  Teddy  Bears. 


MUSIC     APPRECIATION 


The  Bunny— 17776 

I'm  sure  you  know  a  bunny,  too,  don't  you?  He 
is  such  a  nice  pet.  I  should  think  he  could  hear  everything 
"with  his  ears  so  long.  But  I  guess  the  reason  he's  so 
still,  is  cause  he  likes  my  song." 

LESSON  III 
Wild  Horseman— 18598 

Girls  and  boys,  let  us  listen  to  this  whole  story  in 
music  and  see  if  we  can  tell  what  it  is  about.  You  think 
it  is  about  horses.  What  made  you  think  that?  You 
say  you  could  hear  their  feet  as  they  were  galloping  along. 
(Permit  the  children  to  make  up  their  own  story.) 

Ride  a  Cock  Horse— 17004 

A  lady  is  going  to  sing  us  a  story  about  a  horse.  Listen 
and  see  if  you  ever  heard  of  him.  Is  he  just  the  same  kind 
of  horse  the  others  were?  How  is  he  going?  Is  he 
walking,  running,  or  galloping?  (Children  may  imitate  gal- 
loping of  horses  by  placing  hands  in  front  of  them  as  if 
holding  reins  and  moving  the  body  to  give  the  motion  of 
the  galloping  horse.  There  need  be  no  actual  galloping 
around  the  room  unless  it  is  so  desired.) 

Sylvia  Ballet— Pizzicato* 

In  beginning  free  expression  work,  use  the  first  strain 
only.  For  presentation,  see  Lesson  I  for  Kindergarten. 

Theme  for  High-Stepping  HorsesUo-,^ 
Motive  for  Skipping 

Close  the  period  with  unified  work,  through  suggested 
expression.  Allow  all  to  play  high-stepping  horses,  and 
then  to  skip  together. 


*  Record  in  preparation. 

«*>  86 


SUGGESTED    LESSONS 


SUGGESTED  LESSONS  FOR  FIRST  GRADE 


LESSON  I 

MINUTE  WALTZ     (Descriptive) 

IN  LILAC  TIME     (Rhythm) 

How  MANY  MILES  TO  BABYLON     (Dramatic  Song) 

ROCK-A-BYE,  BABY     (Humming) 

LESSON  II 

THE  BEE     (Descriptive  Listening) 
NAMING  THE  TREES    (Rote  Song) 
DOROTHY    GAVOTTE     (Free  Expression  or  Suggested 
Rhythm) 

LESSON  III 

BAA,  BAA,  BLACK  SHEEP     (Dramatic  Song) 
HAPPY  LAND     (Hindoostan  Air)     (Humming) 
THE  WREN    (Listening) 


64076 
35397 
17937 
18664 


64076 
17719 

18216 


17937 

18622 


LESSON  I 
The  Minute  Waltz— 64076 

Once  upon  a  time  there  was  a  lady  who  had  a  nice  little 
dog.  Some  of  you  have  dogs  for  playmates,  I  know.  One 
day  this  lady  was  sitting  in  a  chair  resting,  and  she  thought 
the  little  dog  was  lying  right  beside  her.  He  was  at  first, 
but  all  of  a  sudden  he  saw  something  that  he  thought  he 
could  catch.  But  the  faster  he  went,  the  faster  this  thing 
he  was  running  after  went.  Yes,  it  was  his  tail.  He  didn't 
know  it  was  fastened  on.  So  he  kept  on  running  until  he 
grew  so  tired  he  had  to  lie  down  to  rest.  While  he  was 
lying  there  he  saw  his  tail  again,  so  up  he  got  and  began 
to  run.  This  time  he  ran  so  fast  and  such  a  long  time  he 
just  fell  right  over  on  the  floor.  This  lady  had  a  friend 
who  said  he  knew  just  how  to  tell  that  story  for  boys  and 
girls  in  music.  This  is  the  way  he  told  it.  Let  us  see  if 


*  Record  in  preparation. 


87  "• 


MUSIC    APPRECIATION 


we  can  tell  when  the  little  dog  begins  to  run,  when  he  grows 
so  tired  he  has  to  lie  down,  then  when  he  gets  up  again, 
and  when  he  gets  so  tired  he  just  falls  down  with  a  bang. 
(Play  record.) 

In  Lilac  Time— 35397 

How  many  of  you  have  played  "Follow  the  Leader"? 
Did  you  bring  two  good  eyes  to-day?  And  what  about  your 
ears— are  you  sure  they  can  hear  the  music?  (Play  record.) 

The  teacher  may  indicate  a  variety  of  hand  and  arm 
movements  which  are  a  response  to  the  strong  pulse  only. 

Hand  clapping  is  one  of  the  favorite  "stunts."  In 
such  work  it  is  helpful  to  divide  the  room  into  two  sec- 
tions, and  let  one  side  "play  audience"  and  listen  to  "the 
music"  which  the  other  side  makes  with  their  hands. 
Such  a  device  furthers  rhythmic  development  and  ear 
training  simultaneously,  and  functions  definitely  in  better 
marching.  The  clapping  game  may  even  be  called 
"marching  with  our  hands." 

For  suggestions  on  "Follow  the  Leader,"  see  page  39. 

How  Many  Miles  to  Babylon— 17937 

Girls  and  boys,  let  us  see  if  we  can  discover  where 
these  people  are  going.  How  far  is  it?  When  can  I  get 
there?  Who  is  going?  Where  is  it?  (Room  may  be 
divided  into  two  parts,  one  group  asking  questions,  the 
other  group  answering.) 

Rock-a-bye,  Baby— 18664 

The  next  piece  of  music  doesn't  tell  us  a  story,  or  make 
us  want  to  do  anything  but  just  sit  very  still  and  listen. 
(Play  a  strain  of  the  music.)  You  think  it  says  to  put  the 


SUGGESTED    LESSONS 


dolly  to  sleep?  Yes,  I  think  a  dolly  could  go  to  sleep  to 
this  music.  My  mamma  used  to  sing  this  song  to  me  when 
I  was  a  tiny  baby.  The  story  of  the  song  says: 

"Rock-a-bye,  baby,  in  the  tree  top, 

When  the  wind  blows  the  cradle  will  rock." 

Wouldn't  you  like  to  listen  to  the  sleepy  song  that  all 
babies  love?  (Play  record.)  Would  you  like  to  hum  it 
with  the  music? 

LESSON  II 

The  Bee— 64076 

Can  you  make  believe?  Were  you  ever  in  a  beautiful 
garden  where  there  are  sweet  peas,  and  lilies,  and  roses, 
and  all  kinds  of  beautiful  flowers?  I  just  knew  you  had 
been.  Let  us  make  believe  we  are  in  this  beautiful 
garden.  There  is  a  little  honey  bee  coming  into  the 
garden.  I  wonder  what  he  wants  in  this  garden.  (Some 
child  answers  "Honey.")  Yes,  he  does  want  honey. 
But  where  is  he  going  to  get  it?  (Child  says  "Out  of  the 
flowers.")  Does  he  find  the  honey  on  the  petals  and  go 
up  to  a  flower  and  say,  "I  want  some  honey"?  No,  he 
has  to  work  for  it.  Doesn't  he?  He  goes  buzzing  a\vay 
down  into  the  heart  of  the  flower.  He  is  such  a  busy  little 
honey  bee,  for  he  wants  some  honey  to  eat,  and  he  is 
going  to  save  some  for  winter  when  he  knows  he  can't  find 
this  nice  garden.  This  little  honey  bee  is  a  very  happy 
little  fellow.  He  is  so  happy  he  is  singing  all  the  time. 
I  wonder  if  you  brought  good  ears.  See  if  you  can  hear 
him  when  he  comes  into  the  garden.  Can  you  hear  him 
trying  to  get  the  honey?  He  goes  round  and  round. 
WTien  he  gets  all  the  honey  he  can  carry,  he  is  going  to  fly 
away  home.  Listenand  maybe  you  canhear  this  whole  story. 

««»  89  «» 


MUSIC    APPRECIATION 


Naming  the  Trees— 17719 

Let  us  make  believe  we  are  in  a  park.  Did  you  meet 
any  friends  in  this  nice  park?  I  saw  so  many.  There 
was  Miss  Pine,  and  Miss  Oak,  and  Miss  Maple,  and,  oh, 
so  many  others.  Do  you  know  who  my  friends  are? 

"Do  you  know  the  trees  by  name?" 

(Ask  me  boys  and  girls.) 

(Teacher  then  gives  next  line.) 
"When  you  see  them  growing." 

(Children  repeat.) 
"In  the  fields  or  in  the  woods." 

(Children  repeat.) 
"They  are  well  worth 'knowing." 

(Children  repeat.) 

(After  the  words  have  been  taught,  continue.)  Let 
us  hear  the  lady  sing.  Perhaps  we  know  the  song  she  will 
sing.  (Play  record.)  Yes,  it  is  the  very  one  we  were  just 
saying. 

I  saw  someone  saying  the  words  with  the  lady.  Let's 
all  do  that;  just  move  our  lips,  not  a  single  sound.  (Play 
record  again.)  Now  hear  the  little  tune.  I  think  we  could 
sing  with  the  lady.  Let  us  listen  and  sing  just  as  she  does. 
(Play  again.)  Allow  children  to  hum,  and  then  sing 
words,  with  and  without  the  record. 

Dorothy  Gavotte— 18216 

This  number  is  attractive  to  hear,  or  may  be  used  for 
free-expression  work. 

LESSON   III 
Baa,  Baa,  Black  Sheep— 17937 

A  lady  is  going  to  sing  a  song  for  us.  I  think  if  we 
brought  good  ears,  perhaps  we  can  tell  what  she  is  singing. 
(Play  record.)  Do  you  know  it?  (Children  think  they 

10*  90  **• 


SUGGESTED    LESSONS 


know  song  if  they  are  familiar  with  words.)  Does  this 
song  tell  you  what  color  this  sheep  was?  Did  you  know 
that  black  wool  is  much  nicer  than  white  wool?  And,  too, 
it  couldn't  fade,  because  it  is  really  black  and  not  dyed. 
Was  this  black  sheep  selfish?  What  answer  did  he  make 
when  asked  if  he  had  any  wool?  He  was  very  polite,  too, 
saying,  "Yes  sir,  Yes  sir."  Wasn't  he  a  good  sheep  to 
remember  his  master,  and  his  dame,  and  the  little  boy 
who  lived  in  the  lane  who  needed  nice  warm  clothes? 
(Teach  as  Jack  Homer.}  On  repetition,  it  may  be 
dramatized  by  having  children  for  sheep,  master,  dame, 
and  little  boy. 

Happy  Land     (Hindooston  Air)— 18622 

Let  us  listen  to  the  beautiful  melody  and  hum  the 
tune  softly. 

The  Wren—* 

This  music  has  no  words,  and  I  am  sure  we  couldn't 
hum  it.  So  let's  pretend  we  are  at  a  concert,  and  just 
listen.  This  is  a  picture  of  the  instrument  that  is  going 
to  play  for  you.  (Use  chart  from  Instruments  of  the 
Orchestra  set.  See  page  176.)  Perhaps  you  will  see  one 
some  day.  Its  music  is  very  happy  and  pretty. 

SUGGESTED  LESSONS  FOR  SECOND  GRADE 

LESSON  I 

AT  THE  BROOK — (Descriptive)  64103 

CAT-TAILS     (Listening)  18015 

LULLABY     (Brahms)     (Humming)  18664 


*  Record  in  preparation. 

<av   Q\    toe 


MUSIC    APPRECIATION 


LESSON  II 

MELODY  IN  F     (Listening)     (First  Part)  4509(5 

OF  A  TAILOR  AND  A  BEAR     (Descriptive)  18.598 

MR.  DUCK  AND  MR.  TURKEY     (Dramatic  Song)  17770 

LESSON  III 

To  A  WILD  ROSE     (Listening)  17(591 

BUTTERCUPS     (Listening)  18049 

RHYTHM  MEDLEY     (Suggested  Expression)  18.548 


LESSON  I 

At  the  Brook— 64103 

Have  you  ever  seen  a  brook?  Isn't  it  a  happy  little 
stream?  You  think  of  a  little  brook  you  have  seen.  The 
little  brook  I  am  thinking  of  was  flowing  along  so  happily, 
when  I  first  saw  it,  nothing  was  in  its  way.  Soon  it  came 


to  some  rocks,  and  splash  it  went  over  those.  Bye  and 
bye  it  came  to  a  waterfall,  and  then  it  flowed  happily  on. 
Let  us  make  believe  we  are  walking  beside  this  little  brook 
I  saw.  Tell  me  when  we  come  to  the  rocks  and  the 
waterfall.  (Play  record.) 


SUGG  E  S  T  E  I)    LESSONS 


Cat-Tails— 18015 

Later  in  the  summer,  just  a  short  way  from  this  lovely 
brook,  in  a  marshy  place,  I  saw  some  ladies  all  dressed 
in  brown  velvet  jackets.  They  seemed  to  be  getting  ready 
for  winter.  They  had  been  growing  all  spring  and  sum- 
mer. My,  how  proudly  they  held  their  heads.  Would 
you  like  to  hear  about  them?  (Give  words  of  song.  Then 
teach  as  Naming  the  Trees.} 

Lullaby  (Brahms)— 18664 

This  is  for  listening  and  humming.  "Can  you  hum 
sweetly  enough  to  sing  with  this  lovely  music?" 


LESSON  II 

Melody  in  F— 45096 

Boys  and  girls,  let  us  put  our  heads  down  and  just  rest 
and  listen. 

Of  a  Tailor  and  a  Bear— 18598 

Of  a  Tailor  and  a  Bear  is  a  charming  setting  of  an 
old  tale  by  MacDowell,  written  under  the  nom  de  plume 
of  Edgar  Thorn.  One  may  tell  the  children  of  the  happy 
tailor  who  loved  music  and  kept  a  violin  near  his  bench. 
While  at  work  one  day,  he  heard  a  commotion  outside, 
but  thinking  it  was  nothing  important  went  on  working. 
In  another  moment  he  was  frightened  almost  out  of  his 
wits  by  seeing  a  great  bear  in  his  doorway.  Luckily  he 
remembered  instantly  that  bears  love  music,  just  as  little 
children  do,  and  he  seized  his  violin  and  began  tuning  it. 
And  what  do  you  think,  that  bear  just  reared  right  up  on 
his  hind  feet  and  began  to  dance  round  and  round  slowly 

an   93    «*= 


MUSIC    APPRECIATION 


and  clumsily,  growling  all  the  time,  which  was  his  way  of 
saying  he  liked  it,  because,  you  see,  he  was  a  tame  dancing 
bear.  Pretty  soon  he  got  down  and  went  off,  and  the  poor 
tailor  was  so  happy,  for  at  first  he  had  thought  perhaps 
the  bear  might  eat  him  up.  Just  as  he  started  to  thread  a 
needle,  dear  me,  he  heard  the  bear  growl  again  outside  his 
door.  But  I  guess  his  master  must  have  come  for  him, 
because  he  went  away  again.  This  time  the  tailor 
heaved  a  sigh  of  relief,  and  was  so  thankful  and  happy 
that  he  began  to  whistle  and  made  his  needle  fly  as  he 
heard  the  bear  going  away,  growling  every  step.  (Most 
modern  teachers  will  prefer  to  let  the  children  hear  the 
record,  and  by  adroit  questioning  draw  from  them  their 
own  version  of  the  story.) 

Mr.  Duck  and  Mr.  Turkey— 17776 

Let  us  listen  to  this  lady  sing.  She  is  going  to  tell  us  a 
story.  I  wonder  wrho  can  tell  me  what  it  is  all  about. 
(Allow  children  to  give  back  story,  which  may  then  be 
taught  and  sung  in  usual  way.  The  following  dramatiza- 
tion might  also  be  given.) 

Choose  one  child  for  duck,  and  another  for  turkey. 
Select  place  for  home  of  each. 

MR.  DUCK — Child  squats  down,  knees  bent,  forearms 
raised  to  level  of  bust,  elbows  drawn  back  as  far  as  possible, 
hands  dropped  at  the  wrist  stiffly,  with  head  nodding,  he 
walks  waddling  fashion. 

MR.  TURKEY — Body  bent  slightly  at  waist,  to  assist  in 
throwing  out  chest  to  fullest  extent;  thumbs  in  arm  holes, 
head  nodding  slowly  and  majestically;  walk  with  prancing 
step  to  imitate  strut  of  turkey. 

Suit  action  to  the  words  of  the  song. 

Mr.  Duck  goes  to  call  on  Mr.  Turkey,  walking  in 

100   Q4   >ee 


SUGGESTED    LESSONS 


manner  described  above.  At  words  "How  do  you  do?" 
he  makes  more  elaborate  bow  and  quacks.  Mr.  Turkey 
answers  with  his  gobble.  Mr.  Duck  turns  to  go  home  and 
Mr.  Turkey  says  he  will  go  with  him,  so  they  walk  along 
together,  the  duck  waddling,  and  the  turkey  gobbling. 

LESSON  III 
To  a  Wild  Rose— 17691 

Boys  and  girls,  you  have  all  seen  a  wild  rose.  Have  you 
not?  Can  you  think  of  one  now?  Once  a  musician 
wanted  to  tell  us  of  a  very  beautiful  wild  rose.  Let  us 
close  our  eyes  and  hear  the  story  he  told  in  the  beautiful 
melody.  It  is  as  dainty  and  delicate  as  the  wild  rose  itself. 

Buttercups— 18649 

Now  we  are  going  to  sing  about  a  flower  that  comes 
in  the  spring.  Have  you  ever  been  in  the  country  and 
seen  a  field  just  full  of  little  yellow  flowers?  We  call 
them  buttercups.  Let  us  hear  what  the  little  song  says 
about  them. 

(Proceed  in  usual  way.) 

Rhythm  Medley— 18548 

We  are  going  to  do  anything  the  music  says  to  do,  so 
we  must  listen  very  carefully.  Skip,  or  march,  or  hop, 
just  as  it  says. 

SUGGESTED  LESSONS  FOR  THIRD  GRADE 

LESSON  I 

THE  SWAN     (Listening)  45096 

WHIRLWIND     (Descriptive)  18084 

ADESTE  FIDELES     (Listening  and  Humming)  18664 


MUSI  C    A  I'  P  R  ECIATION 


LESSON  II 

DAWN  OF  LOVE     (Listening)  18296 
LA  CIXQUANTAINE  (Instrumental  Recognition  and 

Meter  Sensing)  18296 

SONG  OF  IRON     (Dramatization)  179157 


LESSON  III 

SWANEE  RIVER     (Listening)  18127 

MINUET  IN  G     (Meter  Sensing)  74444 

CUCK-('OO  CLOCK     (Descriptive,  Rhythmic)  17513 


LESSON  I 

Have  you  seen  a  whirlwind?  It  scampers  along  and 
whirls  the  dust,  or  the  leaves,  and  then  flies  away.  You 
never  can  tell  just  where  it  is  going,  but  then  it  flies  away 
so  happily. 

And  I  know  you've  seen  a  lovely  swan,  on  a  lake  in  a 
park,  perhaps.  Does  the  swan  move  like  the  whirlwind? 

I'm  going  to  tell  you  those  two  things  with  music,  and 
see  if  you  can  tell  which  is  the  whirlwind  that  scampers 
and  plays  along,  and  which  is  the  swan  that  glides  so 
calmly  where  the  water  is  smooth  as  glass. 

Play  Swan  45096 

Play  Whirlwind  18684 

(If  there  be  time,  or  in  another  lesson,  the  details  of 
the  musical  description  of  The  Whirlwind  and  The 
8 wan  might  be  suggested  to  or  drawn  from  the  children, 
something  like  the  following) : 

Did  you  ever  hear  of  the  ugly  duckling?  He  became  a 
beautiful  swan.  What  word  best  tells  us  how  he  moves? 
(Glides.)  Let  us  make  believe  we  are  on  the  bank  of  a 
beautiful  lake.  The  water  is  as  smooth  as  glass;  there  is 
no  breeze  to  disturb  the  calm  water.  What  sounds  like  the 


SUGGESTED    LESSONS 


water?  Coming  from  far  across  the  lake  is  a  beautiful 
swan.  If  we  listen  closely  we  can  see  him.  He  is  coming 
right  down  in  front  of  us.  When  he  is  just  here  let  us  see 
how  proudly  he  lifts  his  head.  Then  he  turns  around  and 
swims  in  a  circle  and  comes  around  by  us  again.  Let  us 
see  if  he  raises  his  head  as  he  did  before.  Then  he  goes 
away.  Let  us  watch  him.  Part  of  the  time  he  is  swimming 
and  sometimes  he  stops  and  just  gives  himself  a  push. 
He  is  going  farther  and  farther  away,  and  finally  sails  out 
of  sight  behind  the  trees.  You  may  raise  your  hands  so, 
when  you  think  the  music  tells  that  he  is  gliding  by  us, 
and  so  when  he  lifts  his  head. 

Be  careful  not  to  talk  during  the  playing  of  the  music. 

Adeste  Fldeles     (Listening  and  Humming) — 18664 

LESSON  II 
Dawn  of  Love— 18296 

"  We  are  going  to  have  another  little  concert.  I  think 
you  will  like  this  pretty  music." 

The  pictures  of  the  instruments  that  are  to  play  may 
be  shown,  and  upon  second  hearing  children  may  be  asked 
to  distinguish  and  tell  what  instrument  is  playing. 

La  Cinquantaine — 18296 

(Play  record  through.)  Let  us  listen  to  this  little  tune 
(which  we  have  heard  in  previous  grades)  and  see  if  we 
can  clap  every  time  the  music  is  a  little  louder.  We  are 
only  going  to  clap  the  strong  accents  at  first.  Now  let  us 
see  if  we  can  clap  the  strong  ones  and  the  weak  ones.  Do 
you  hear  it  in  twos,  threes,  or  fours? 

MM     97     MM 


MUSIC    APPRECIATION 


Song  of  Iron— 17937 

To-day  we  are  going  to  hear  a  song  about  iron.  I 
wonder  where  we  get  iron?  What  do  we  call  the  man  who 
gets  it  for  us?  (Secure  all  information  possible  concern- 
ing miner  from  class.  Then  teach  words  and  proceed  with 
song,  singing  in  usual  manner.  This  song  is  very  strong 
in  both  rhythmic  and  dramatic  appeal.  The  following 
suggestion  for  its  use  may  prove  helpful: 

All  the  school  may  be  miners,  some  with  picks  and 
some  with  shovels.  Stand  still  while  listening  to  the  first 
two  lines.  Then  imitate  the  placing  of  lamp  in  cap,  and 
pick-ax  or  shovel  over  shoulder,  and  to  the  rhythm  of  the 
music,  pretend  to  go  deep  down  into  the  mine  to  work. 
Insist  that  the  exercise  be  rhythmic!  Shoveling  requires 
two  motions — pushing  shovel  into  ground  with  accent  of 
the  music,  and  throwing  ore  with  unaccented  portion. 
The  use  of  the  pick-ax  also  involves  two  motions,  with 
the  additional  bending  and  straightening  of  the  body. 
Through  the  entire  song,  suit  actions  to  the  words.) 

LESSON  III 
Swanee  River— 18127 

(There  are  many  melodies  which  we  will  wish  the 
children  to  sing  later,  and  which  they  may  be  hearing  now 
for  their  sheer  beauty.  Swanee  River  is  one  of  these,  and 
it  is  here  presented  simply  because  it  is  beautiful  and 
because  the  child  can  enjoy  the  melody  long  before  he  can 
appreciate  the  words.)  To-day  we  are  to  listen  with  our 
ears  only.  Neither  our  hands  nor  our  voices  are  to  talk. 
If  we  close  our  eyes  perhaps  we  can  hear  better,  for  then  our 
ears  must  do  all  the  listening  without  any  help  from  our 
eyes. 

«M    98    MM 


SUGGESTED     LESSONS 


Minuet  in  G — 74444 

(This  has  been  used  in  previous  grades  for  listening.) 
Let  us  listen  first  for  the  strong  pulse.  Can  you  clap 
every  time  the  music  says  "strong"?  Now  let  us  clap 
the  strong  and  the  weak  ones.  (The  clapping  may  be 
varied  by  long  and  short  lines,  or  large  and  small  circles 
on  the  board.)  Is  it  two  or  three? 

(Gavotte  on  same  record  may  be  used  for  example  of 
fours.) 


THE  MIXUET — FRAXKLIX  SCHOOL,  CROOKSTOX,  Mixx. 
Cuck-Coo  Clock— 17513 

I  know  of  the  queerest  kind  of  clock.  A  little  bird 
sings  when  the  clock  wishes  to  say  the  hour.  Isn't  that  a 
queer  way  for  a  clock  to  strike?  I  wonder  if  you  know 
what  kind  of  clock  I  mean?  Yes,  it  is  a  cuckoo  clock 
and  it  was  made  in  a  far-away  country.  I  should  like  to  tell 
you  the  story  of  this  clock.  (Tell  words  and  then  proceed 
in  usual  method.) 

un   9!)    '*n 


LESSON  BUILDING 

KINDERGARTEN 

HE  kindergarten  teacher  is  fortunate  in  hav- 
ing great  freedom  in  her  use  of  materials, 
the  opportunity  to  use  her  own  personality 
and  initiative,  and  the  chance  to  "find" 
individual  children.  The  course  of  study 
and  the  daily  program  are  more  flexible 
than  in  the  grades. 

Since  music  is  an  integral  part  of  kindergarten  work — 
indispensable  in  song,  rhythmic  development,  and  play — 
and  since  it  can  be  arranged  without  the  limitation  of  a 
given  music  period,  we  have  not  attempted  to  plan  definite 
lessons.  We  have  selected  instead  a  choice  group  of 
material  which  the  kindergarten  teacher  should  use  to 
supplement  the  music  of  the  games  and  songs  which  often 
make  up  the  entire  pabulum  presented. 

Even  the  most  musical  teacher,  who  plays  a  piano  well, 
welcomes  the  Victrola  as   an  ever-ready   and    efficient 
"assistant,"  for  in  teaching,  her  own  attention  must  needs 
be  bestowed  upon  the  children.     Furthermore,  the  piano 
is  helpless  in  providing  cultural  effects  that  come  from  ac- 
quaintance with  the  tone  quality  of  orchestral  instruments. 
The  short  list  of  instrumental  music  which  follows  has 
been    culled    from    more    lengthy    lists    elsewhere.     The 
rhythmic  numbers  invite  bodily  expression;  the  descrip- 
tive are  obviously  familiar  to  the  child  world ;  and  those 
listed  for  aesthetic  appreciation  are  either    dearly  -  loved 
melodies  a  child  should  know,  or  are  bright,  happy,  and 
rhythmic — the  type  that  deserves  the  name  "pretty." 
The  tiniest  children  should  hear  the  music  of  the  masters. 
to«  100  •» 


LESSON    BUILDING 


RHYTHMIC 

Amaryllis  16474 

Dorothy  Three-Step  35532 

Dance  of  Happy  Spirits 

(Orpheus)  74567 

Gavotte  (Gretry)  (Mozart)  17917 
Gavotte  (Gretry)  64198 

Golden  Trumpet  Schottische  35228 
High-Stepping   Horses   or 
Reindeer   Running 
In  the  Park 
La  Cinquantaine 
Military  Escort  March 
Motive  for  Skipping 
On  the  Bridge 
On  the  Wing  Galop 
Pirouette 

Praeludium  (Jarnefeldt) 
Rhythm  Medley, 
a — March-theme  for  skip- 
ping—flying birds— wheel- 
barrow motive — plain  skip 
— tip-toe  march  —  march 
b — March — trotting,  run- 
ning  and   high  -  stepping 
horses — skipping  theme — 
march 

Sylvia  Ballet — Pizzicato      "U 

Sylvia  Ballet— March  / 

Tarantella     (Saint  Saens)      17174 
Teddy  Bears'  Picnic  16001 

Wild  Horseman  18598 


18017 
18296 
17368 
18253 
72166 
17368 
18223 
18323 


DESCRIPTIVE 


At  the  Brook 
Bee,  The 

Birds  of  the  Forest 
Butterfly,  The 
By  the  Brook 
Clock  Store 
Fountain,  The 
Little  Hunters 


64103 
64076 
16835 
45158 
17844 
35324 
70031 
18598 


March  of  the  Toys 
Minute  Waltz 
Of  a  Tailor  and  a  Bear 
Spinning  Song 
Teddy  Bears'  Picnic 
Waltzing  Doll 
Whirlwind 
Wren,  The 

.ESTHETIC 


55054 
64076 
18598 
18598 
16001 
64734 
18684 


72165 


Au  Clair  de  la  Lune 
Christmas  Hymns 

Adeste  Fideles 

First  Nowell  ,  Qftfl  t 

Silent  Night 

Rock-a-bye,  Baby 

Cupid's  Garden  18018 

Dawn  of  Love  18296 

Fedora  Gavotte  17681 

Gavotte  (Gossec)  74164 

Humoresque  17454 

Hush,  My  Babe  ] 

Happy  Land  [  18622 

Come  Thou  Fount  J 

Idyll  17681 

Lullaby  (Bredt- Verne)  17844 

Melody  in  F  45096 

Minuet— Boccherini  67896 

Minuet  in  G  64121 

Narcissus  17472 

Old  Folks  at  Home  \iaiccr 

Kentucky  Home  Jlb 

Poet's  Vision  18142 

Rondino  64600 
Serenade  (Moszkowski)          64576 

Serenade  (Pierne)  45158 

Serenade  (Schubert)  16995 

Serenade  (Till)  16995 

Silent  Night  17842 
Spring  Song  (Mendelssohn)   18648 

To  a  Wild  Rose  17691 

Traumerei  45102 


*  Record  in  preparation. 

Many  simple  songs,  suitable  for  kindergarten,  will  be  found  in  Song  section  among 
those  listed  for  first  grade. 

For  Bird  Records,  see  "Nature  Study." 

For  Stories,  see  "Primary  Stories  and  Poems." 

For  Games,  see  pages  43,  44. 

ays    101    ««» 


M  II  S  I  C     A  I'  PRECIATION 


PRIMARY  GRADES 

In  addition  to  the  foregoing  suggested  lessons,  we  here- 
with submit  material  for  twenty-nine  more  lessons  for 
each  grade.  (For  complete  plan,  see  page  23.) 

It  is  necessary  that  the  sequence  of  lessons  should 
carry  forward  the  child's  development,  and  at  the  same 
time  use  material  over  and  over  again,  each  time  from  some 
new  point  of  view. 

There  are  many  records  which  may  be  used  with 
profit  in  every  grade  from  kindergarten  to  high  school. 
To  be  of  further  assistance  to  the  teacher  in  "getting  the 
most  out  of  a  record,"  a  few  type  records  have  been  treated 
extensively  under  that  heading  in  the  next  chapter. 

Since  so  very  much  of  the  so-called  regular  music  work  of 
the  school  is  the  singing  of  songs  it  has  been  thought  best  to 
list  the  records  of  songs  under  that  heading  with  sug- 
gestions for  using,  teaching,  and  dramatizing  them. 

Although  much  of  the  song  work  is  real  appreciation 
work,  we  have  thought  perhaps  the  teacher  would  prefer  to 
incorporate  the  use  of  song  records  into  her  regular  song 
study  and  use  the  special  appreciation  day  for  those 
phases  of  music  which  might  not  otherwise  be  presented. 
We  have,  therefore,  omitted  songs  from  these  skeletonized 
lesson  plans. 

Realizing  that  the  music  period  in  the  lower  grades  is 
but  from  twelve  to  fifteen  minutes  long,  we  have  suggested 
never  more  than  two  records  in  order  that  there  may  be 
time  to  enjoy  favorite  records  heard  in  previous  lessons. 

It  is  not  wise  to  use  too  many  records  in  one  lesson. 

If  the  picture  of  the  instrument  which  plays  the  solo 
in  the  selections  may  be  used  (or  of  the  several  which 
«»  102  «*> 


LESSON    BUILDING 


appear  in  simple  combinations),  the  children  will  absorb 
quite  an  acquaintance  with  instruments. 

Large  charts,  each  containing  a  natural  color  picture 
of  an  instrument  of  the  orchestra,  have  been  especially 
prepared  by  the  Educational  Department  of  the  Victor 
Company  for  this  work  in  the  schools.  (See  page  176.) 

In  the  primary  grades,  the  chart  of  the  instrument 
about  to  be  heard  may  be  hung  on  the  wall.  Allow  the 
children  simply  to  associate  the  sight  and  the  sound 
of  the  instrument.  The  teacher  need  not  supply  any 
information  beyond  that  which  will  be  drawn  out  naturally 
by  the  children's  questions. 

Children  should  have  acquired  sufficient  familiarity 
with  instruments  that  are  commonly  used  to  be  able  to 
begin  a  conscious  study  of  them  in  the  fourth  grade. 

Take  time  to  make  real  friends  with  these  musical 
gems: 

FIRST  GRADE 

(Many  selections  previously  used  in  Kindergarten) 

LESSON  I 

March  of  the  Toys     (Descriptive)  55054 

Gavotte     (Gretry)     (Free  Expression)  64198 

LESSON  II 

In  a  Clock  Store     (Descriptive)  35324 

Sylvia  Ballet — Pizzicato     (Free  Expression) 

LESSON  III 

Moment  Musical     (Listening)  74202 

Rock-a-Bye,  Baby     (Humming)  18664 

LESSON  IV 

Dance  Characteristic     (Listening)  16974 

Little  Hunters     (Descriptive)  18548 

LESSON  V 

The  Bee     (Descriptive)  64076 

Wild  Horseman     (Free  Expression)  18598 

LESSON  VI 

Teddy  Bears' Picnic     (Free  or  Suggested  Expression)  16001 

Hush,  My  Babe     (Humming)  18622 

*  Record  in  preparation. 

«*>    103   «»» 


MUSIC    APPRECIATION 


LESSON  VII 

Humoresqne     (Listening)  16974 

March  Militaire     ("Follow  the  Leader")     (Suggested 

Expression)  35493 

LESSON  VIII 

Spinning  Song     (Descriptive)  18598 

High-Stepping  Horses     (Suggested  Expression)  18253 

LESSON  IX 

Come  Thou  Fount     (Listening — Humming)  18622 

Waltzing  Doll     (Listening)  64734 

LESSON  X 

La  Cinquantaine     (Listening)  18296 

Gavotte    (Suggested  Expression)  17917 

LESSON  XI 

Lullaby     (Listening)  17844 

March  Miniature     (Free  Expression)  64766 

LESSON  XII 

Cupid's  Garden     (Listening)  18018 

Happy  Land     (Humming)  18622 

LESSON  XIII 

Serenade     (Moszkowski)     (Listening — Humming)  64576 

Rhythm  Medley  18548 

LESSON  XIV 

Souvenir  (Drdla)     (Listening)  64074 

On  the  Wing     (Rhythm)  17368 

LESSON  XV 

The  Minute  Waltz     (Descriptive)  64076 

La  Cinquantaine     (Suggested  Expression)  18296 

LESSON  XVI 

Minuet  in  G     (Listening)  74444 

Of  a  Tailor  and  a  Bear     (Descriptive)  18598 

LESSON  XVII 

Idyll     (Listening)  17681 

Orpheus — Dance  of  Happy  Spirits     (Rhythm)  74567 

LESSON  XVIII 

Reconciliation  Polka     (Listening)  35644 

Rock-a-bye,  Baby     (Humming)  18664 

LESSON  XIX 

To  a  Wild  Rose     (Listening)  17691 

Minuet    (Beethoven)     (Suggested  Expression)  74444 

LESSON  XX 

Melody  in^F     (Listening)  45096 

Little  Hunters     (Descriptive)   .  18598 

•AD  104  >e* 


LESSON     BUILDING 


LESSON  XXI 

Humoresque     (Listening — Review)  16974 

Sylvia  Ballet — March     (Suggested  Expression) 

LESSON  XXII 

Dawn  of  Love     (Listening)  18296 

Birds  of  the  Forest    (Descriptive)  16835 

LESSON  XXIII 

Dorothy     (Listening)  18216 

On  the  Wing  Galop     (Suggested  Expression)  17368 

LESSON  XXIV 

Spring  Song    (Mendelssohn)     (Listening)  18648 

Jolly  General     (Suggested  Expression)  35608 

LESSON  XXV 

In  a  Clock  Store     (Descriptive)  35324 

Marche  Militaire     (Schubert)     (Suggested  Expression)  35493 

LESSON  XXVI 

Idyll     (Listening)  17681 

Dorothy     (Free  or  Suggested  Expression)  18216 

LESSON  XXVII 

Minuet  in  G     (Listening)  64121 

Amaryllis     (Free  or  Suggested  Expression)  16474 

LESSON  XXVIII 

Swanee  River     (Listening)  18127 

Happy  Days  March     (Rhythm)  16001 

LESSON  XXIX 

To  a  Wild  Rose     (Listening)  17691 

Dance  Characteristic     (Free  or  Suggested  Expression)  16974 


SECOND  GRADE 

LESSON  I 

The  Wren     (Listening) 

March  Miniature    (Tschaikowsky)     (Free  Expression)  64766 

LESSON  II 

Little  Hunters     (Descriptive)  18598 

Golden  Trumpet  Schottische     (Suggested  Expression)  35228 

LESSON  III 

Spring  Song   (Mendelssohn)     (Listening)  18648 

La  Cinquantaine     (Free  or  Suggested  Expression)  18296 

LESSON  IV 

Humoresque     (Listening)  16974 

On  the  Wing  Galop     (Suggested  Expression)  17368 

LESSON  V 

Serenade  (Moszkowski)     (Listening  and  Humming)  64576 

Moment  Musical     (Free  or  Suggested  Expression)  18216 


*  Record  in  preparation. 

«»  105  «>» 


MUSIC     APPRECIATION 


LESSON  VI 

Hush,  My  Babe     (Listening  and  Humming)  18622 

At  the  Brook     (Descriptive)  64103 

LESSON  VII 

Trdumerei    (Listening)  64197 

Ballet  Music— William  Tell 

LESSON  VIII 

The  Bee     (Descriptive)  64076 

Dorothy     (Suggested  Expression)  18216 

LESSON  IX 

Dawn  of  Love     (Listening)  18296 

Whirlwind     (Descriptive)  18684 

LESSON  X 

Valse  Bluette     (Listening)  64758 

Spinning  Song     (Descriptive  Rhythm)  18598 

LESSON  XI 

Idyll     (Listening)  17681 

Adeste  Fideles     (Humming)  18664 

LESSON  XII 

The  Fountain     (Descriptive)  70031 

First  Nowell     (Humming)  18664 

LESSON  XIII 

Danse  Chinoise     (Descriptive)  45053 

Danse  des  Mirlitons     (Descriptive)  45053 

LESSON  XIV 

Whispering  Flowers     (Listening) 

Gavotte     (Meter  Sensing)  18216 

LESSON  XV 

Lullaby     (Listening)  17844 

Eros  Waltz     (Free  or  Suggested  Expression)  35228 

LESSON  XVI 

Serenade  (Pierne)     (Listening)  45158 

March  Miniature     (Suggested  Expression)  64766 

LESSON  XVII 

Narcissus     (Listening)  17472 

I  See  You     (Meter  Sensing)  17158 

See-Saw     (Meter  Sensing)  17596 

LESSON  XVIII 

Praeludium     (Listening)  18323 

Menuett     (Gluck- Mozart)     (Suggested  Expression)  17917 

LESSON  XIX 

Minute  Waltz     (Descriptive)  64076 

Gavotte     (Gretry)     (Meter  Sensing)  17917 


*  Record  in  preparation. 

«»   106  ««> 


LESSON    BUILDING 


LESSON  XX 

Of  a  Tailor  and  a  Bear     (MacDowell)     (Descriptive)  18598 

Gavotte     (Popper)     (Listening  and  Meter  Sensing)  45116 

LESSON  XXI 

Spring  Song     (Mendelssohn)     (Listening)  18648 

Amaryllis     (Meter  Sensing)  16474 

LESSON  XXII 

March  of  the  Toys     (Descriptive)  55054 

Lullaby  from  "Erminie"     (Humming)  18622 

LESSON  XXIII 

In  a  Clock  Store     (Descriptive)  35324 
Minuet    (Haydn — "Military  Symphony")    (Meter  Sensing)    62660 

LESSON  XXIV 

The  Wren     (Listening)  * — 

Motive  for  Skipping     (Suggested  Expression)  18253 

LESSON  XXV 

Waltzing  Doll     (Poldini)     (Listening)  64374 

Minuet     (Beethoven)     (Meter  Sensing)  74444 

LESSON  XXVI 

Idyll     (Listening)  17681 

La  Cinquantaine     (Meter  Sensing)  18296 

LESSON  XXVII 

Humoresque     (Listening)  16974 

Sweet  and  Low     (Humming)  18664 

LESSON  XXVIII 

Silent  Night     (Listening)  17842 

Mazurka     (Chopin)     (Meter  Sensing)  18216 

LESSON  XXIX 

Val.se  Bluette     (Listening)  64758 

Whirlwind     (Descriptive)  18684 


THIRD  GRADE 

LESSON  I 

Serenade     (TitI)     (Listening)  16995 

Gavotte     (Popper)     (Meter  Sensing)  45116 

LESSON  II 

Wind  Amongst  the  Trees     (Descriptive)  70026 

La  Cinquantaine     (Meter  Sensing)  18296 

LESSON  III 

Lullaby     (Brahms)    (Humming)  18664 

Shoemakers  Dance     (Meter  Sensing)  17084 

Dance  of  Greeting     (Meter  Sensing)  17158 

*  Record  in  preparation. 

«»    107    «« 


MUSIC    APPRECIATION 


LESSON  IV 

Will-o'-the-Wisp    (Descriptive)  74183 

Menuett     (Meter  Sensing)  17917 

LESSON  V 

//  With  All  Your  Hearts     (Listening  and  Humming)  18655 

Moment  Musical     (Rhythm)  18216 

LESSON  VI 

The  Swan     (Saint-Saens)     (Listening)  45090 

Gavotte  from  Mignon     (Rhythm)  18216 

LESSON  VII 

Ballet  Music  from  Rosamunde     (Listening)  64670 

Rhythm  Medley     (Meter  Sensing)  18548 

LESSON  VIII 

Souvenir     (Drdla)     (Listening)  64074 

From  an  Indian  Lodge     (MacDowell)     (Listening)  17035 

LESSON  IX 

To  a  Wild  Rose     (Listening)  17691 

Whirlwind     (Descriptive)  18684 

LESSON  X 

Nutcracker  Suite     (Descriptive)  45053 

See,  the  Conquring  Hero  Comes     (Humming)  18655 

LESSON  XI 

Narcissus     (Descriptive.   See  story,  page  153)  17472 

Dorothy     (Rhythm)  18216 

LESSON  XII 

My  Old  Kentucky  Home     (Listening)  18127 

Musette     (Rhythm)  18314 

LESSON  XIII 

Waltz  in  C  Sharp  Minor     (Listening)  74539 

Wild  Horseman     (Meter  Sensing)  18598 

LESSON  XIV 

Whispering  Flowers     (Listening) 

Minuet     (Boccherini)     (Meter  Sensing)  18049 

LESSON  XV 

Serenade     (Schubert)     (Listening)  16995 

In  Lilac  Time     (Rhythm  and  Meter  Sensing)  35397 

LESSON  XVI 

Salut  d" Amour     (Listening)  64373 

Rigaudon     (Rhythm)  64201 

LESSON  XVII 

The  Butterfly     (Descriptive)  45158 

Golden  Trumpet     (Rhythm  and  Meter  Sensing)  35228 

*  Record  in  preparation. 

«»   108   ««» 


LESSON    BUILDING 


LESSON  XVIII 

Humoresque     (Listening)  16974 

Gavotte    (Gossec)         \  /,.•  .      c      •     N  *AA 

Minuet    (Beethoven)  /  <Meter  SensmS)  74444 

LESSON  XIX 

Serenade     (Titl)     (Listening)  16995 

Lullaby  from  "Erminie"     (Humming)  18622 

LESSON  XX 

By  the  Brook     (Listening)  17844 

On  the  Wing  Galop     (Rhythm  and  Meter  Sensing)  17368 

LESSON  XXI 

Serenade     (Schubert)     (Listening)  16995 

Fedora  Gavotte     (Rhythm)  17681 

LESSON  XXII 

Of  a  Tailor  and  a  Bear     (MacDowell)     (Descriptive)  18598 

All  Through  the  Night     (Humming) 

LESSON  XXIII 

The  Bee     (Descriptive)  64076 

Minuet     (Paderewski)     (Rhythm)  16474 

LESSON  XXIV 

Rock-a-bye,  Baby     (Humming)  18664 

The  Swan     (Saint-Saens)  45096 

LESSON  XXV 

Cavatina     (Raff)     (Listening)  74336 

Isoline  Ballet  Valse     (Listening)  67201 

LESSON  XXVI 

//  With  All  Your  Hearts     (Humming)  18655 

La  Cinquantaine     (Rhythm  and  Meter  Sensing)  18296 

LESSON  XXVII 

Rigaudon     (Rameau)     (Listening)  67201 

Gavotte     (Gossec)     (Rhythm)    1  74444 
Minuet     (Beethoven)                  / 

LESSON  XXVIII 

At  the  Brook     (Listening)  64103 

Ballet—William  Tell  * 


Record  in  preparation. 


««•  109  «>» 


MAKING  THE  MOST  OF  A  RECORD 


N  making  the  special  educational  records, 
the  utmost  care  has  been  taken  to  see  that 
each  one  is  made  to  serve  in  a  variety 
of  ways,  and  the  most  careful  thought  has 
been  bestowed  on  the  selection  of  the 
material  to  give  value  in  as  many  points  of 
contact  as  possible. 

Teachers  will  realize  on  their  investment  through  a 
study  of  the  hidden  riches  of  even  a  small  library  of 
records.  Many  times,  one  record  may  serve  five  to  ten 
purposes.  Look  over  your  record  collection,  and  you 
will  find  many  that  can  be  used  in  as  many  different 
ways  as  the  following  illustrations,  which  were  picked  at 
random. 

HOW  TO  USE  17719 

This  record  contains  eleven  splendid  songs  for  rote 
singing  in  the  primary  grades. 

Use  Jack-in-the-Pulpit  in  the  early  spring  when  the 
children  bring  to  school  the  first  jack-in-the-pulpits. 

Use  Corn  Soldiers  when  you  wish  to  improve  the  stand- 
ing position  of  the  pupils.  Have  class  stand  while  singing 
this  song.  Watch  the  standing  positions  improve.  This 
is  only  a  suggestion,  but  how  much  more  effective  than  a 
command.  Play  again  and  have  these  soldiers  march 
forward  four  steps,  backward  four  steps,  and  repeat. 

Use  Naming  the  Trees  in  the  Arbor  Day  exercises. 
How  many  names  do  you  know?  Write  names  on  board 
and  see  how  many  the  class  can  think  of. 

A  splendid  song  for  October  and  November  is  The 
Squirrel.  Use  for  nature  study  to  illustrate  the  habits  of 
the  squirrel.  What  would  you  find  the  squirrel  doing? 

«o»    110  >™ 


MAKING  THE  MOST  OF  A  RECORD 

This  offers  a  splendid  opportunity  for  oral  English,  which 
is  rightly  receiving  so  much  attention  in  the  schools  to- 
day. It  may  be  used  in  connection  with  the  game  Let 
Us  Chase  the  Squirrel,  on  Record  17568. 

The  Windmill  affords  an  opportunity  to  discuss  with 
the  children  the  reason  why  we  have  no  windmills  now. 

During  the  month  of  May,  what  could  be  better  than 
Dancing  in  May? 

It  is  necessary  for  the  class  to  hear  the  song  which  they 
are  to  learn  several  times,  so  that  they  can  sing  it  cor- 
rectly. When  it  is  possible  to  use  rhythmic  motions  sug- 
gested by  the  words,  new  interest  is  given  in  the  many 
repetitions  which  are  necessary.  In  the  drawing  lesson, 
if  we  desire  an  exact  reproduction,  we  do  not  hold  the 
object  before  the  children  and  then  remove  it  quickly 
and  expect  the  children  to  make  an  exact  likeness.  We 
should  not  expect  the  impossible  in  music.  The  children 
must  hear  a  new  song  a  sufficient  number  of  times  to 
have  an  exact  tone  picture. 

Songs  on  this  record  which  may  be  used  with  motions 
are: 

In  the  Belfry — Hands  high  above  head  pulling  the  bell  ropes  in  time 
to  the  music. 

Corn  Soldiers — March  like  soldiers  with  hands  on  desk  instead  of 
feet,  right  with  the  music — left,  right,  etc. 

The  Windmill — Swing  arms  crossing  over  head — down  and  up; 
swing  with  the  music  like  a  windmill. 

The  Singing  School — Arms  held  shoulder  high,  move  in  time  with  the 
music  like  the  wings  of  the  swallow. 

Mother  Goose  Lullaby — Fold  arms  and  swing  back  and  forth  like  a 
cradle. 

Motions  for  Riggety  Jig. 

There  have  been  many  requests  for  singing  games  which 
do  not  require  a  circle  formation.  Many  thoughtful 
teachers  realize  that  the  motion  song  after  it  is  learned  is 

•S3?    1 1 }    «» 


MUSIC    APPRECIATION 


very  valuable  when  used  between  classes.  This  song  may 
be  used  with  the  children  standing  in  the  aisles.  The 
children  enjoy  playing  to  this  song  on  a  rainy  day  when  they 
have  umbrellas  at  school.  Use  umbrella  for  willow  tree 
and  ride  upon  it.  Gallop  forward  eight  counts;  on  word 
"know"  all  stand  still.  On  "he's  just  the  branch  of  a 
willow  tree"  hold  stick  or  umbrella  up  in  right  hand. 
On  "O  riggety  jig"  gallop  two  steps.  On  "you  see"  all 
bow.  In  kindergarten,  wands  make  excellent  stick  horses. 

For  rhythmic  work,  have  children  do  these  motions, 
following  the  Victrola,  but  not  singing.  Have  children  sing 
when  not  doing  motions  so  that  attention  may  be  paid  to 
the  tone  quality.  Individuals  may  sing  phrases,  for 
quick  response,  sharp  attention,  self-possession,  and  for  test. 

Use  the  same  motions  for  second  verse. 

Motions  for  Dancing  Song. 

In  circle  formation,  each  child  with  partner. 
1st  line  of  song — all  hands  shoulder  high,  turn  twice  in  place. 
2d  line — taking  partner's  hand  skip  twice  toward  center  of  circle  and 
twice  back  to  place. 

3rd  line — all  join  hands  and  slide  four  times  to  right. 
4th  line — same,  sliding  to  left. 
Same  motions  for  second  verse. 

The  teaching  of  the  syllables  of  the  scale  as  a  scale  in 
the  first  grade  has  now  been  relegated  to  the  pedagogical 
ash-heap  along  with  the  presentation  of  the  alphabet. 
This  necessitates  a  new  method  of  presenting  the  syllables. 
The  teaching  of  syllables  as  an  additional  stanza  to  the 
rote  song  is  found  in  five  of  the  eleven  songs  on  this  record. 

For  correlation  with  drawing,  a  lesson  may  be  given 
on  Jack-in-ihe-Pulpit.  Paper  cutting  or  drawing  of  a 
church  correlates  with  In  the  Belfry. 

A  lesson  of  silhouette  drawing  of  trees  with  distinctive 
outline  may  be  given  with  Naming  the  Trees. 


MAKING  THE  MOST  OF  A  RECORD 

A  lesson  much  enjoyed  is  to  review  The  Squirrel  in 
the  spring  during  the  pussy  willow  season.  Paste  pussy 
willows  on  paper  and  draw  the  tail  and  head  of  a  squirrel. 

HOW  TO  USE  17646 

1.  In     presenting    examples     of     music     expressing 
thought     this     record     may     be     used.     The     selection 
Lennox  is  best  suited,  because  there  is  an  introduction  played 
on  the  organ.     The  children  will  recognize  this  instantly 
as  church  music  in  contrast  to  march,  dance,  and  sleep  music. 

2.  Any  of  the  selections  on  the  A  side  of  this  record 
may  be  used  with  stories  of  the  first  Thanksgiving. 

3.  In  the  picture-study  class  when  using  the  famous 
painting  Pilgrims  Going  to  Church  selections  on  the  A  side 
of  record  may  be  used.     These  are  chosen  since  the  Pilgrims 
during  the  early  years  of  their  life  in  this  country  were 
opposed  to  the  use  of  the  organ  in  the  church  service. 
In  the  selections  on  side  B  no  organ  is  used. 

4.  In   giving   a  Thanksgiving   entertainment,  a   very 
effective  number  is  a  tableau  of  the  Pilgrims  Going  to 
Church.     While  this  tableau  is  being  shown  play  Psalm 
107  on  this  record. 

5.  Any  selections  on  the  A  side  of  record  may  be  used 
with  stories  of  the  Puritans.      The  organ  was  first  used  in 
a  Puritan  colony. 

For  more  detail  work  on  this  record,  see  Elson's 
American  Music. 

HOW  TO  USE  18598 

There  is  probably  no  instrumental  record  in  the  Victor 
Catalogue  which  may  be  used  in  so  many  different  grades 
and  in  such  a  variety  of  ways  as  this  one. 


MUSIC    APPRECIATION 


Wild  Horseman — A  good  selection  for  Hallowe'en 

This  selection  may  be  used  in  connection  with  the 
Legend  of  Sleepy  Hollow  in  grammar  grades.  The  first 
theme  is  the  Headless  Horseman  of  Sleepy  Hollow.  This 
theme  is  repeated  and  then  Ichabod  Crane  comes  into 
the  picture.  The  Headless  Horseman  appears  again, 
then  we  hear  the  last  appearance  of  Ichabod.  The 
Headless  Horseman  comes  again  on  the  scene  and  the 
story  ends. 

This  story  may  be  adapted  for  use  in  the  primary 
grades.  The  little  children  are  interested  in  the  man  who 
"dressed  up"  to  represent  the  Headless  Horseman  and 
chased  Ichabod  Crane  as  he  was  returning  from  a  party. 
They  may  raise  hands  when  Ichabod  appears  in  the  tone 
picture. 

Of  a  Tailor  and  a  Bear 

After  hearing  the  story,  the  children  will  be  anxious  to 
dramatize  it.  Allow  them  to  select  one  of  their  number 
for  the  tailor,  another  for  the  bear,  and  another  for  the 
keeper. 

Relate  the  story  of  the  Tailor  and  the  Bear,  and  then 
let  the  children  listen  to  the  music  tell  the  same  story. 
For  a  suggested  story,  see  page  93. 

This  makes  an  excellent  subject  for  a  paper  cutting 
lesson.  The  children  can  make  a  bear,  a  cage,  the  tailor 
and  the  keeper. 

Spinning  Song 

This  is  a  very  appropriate  selection  to  play  during  a 
tableau  for  a  spinning  scene. 

Use  in  connection  with  the  work  on  the  Colonial  period. 
Introduce  pictures  of  different  kinds  of  spinning  wheels. 
Why  do  we  not  use  spinning  wheels  now? 


MAKING  THE  MOST  OF  A  RECORD 


For  primary  grades  have  the  children  listen  for  places 
where  the  flax  on  the  wheel  breaks  and  the  music  stops 
suddenly.  Raise  hands  when  flax  breaks. 


Little  Hunters 

In  the  primary  grades  where  physical  response  is  de- 
sired, tell  a  story  of  a  party  going  hunting.  Show  a  hunting 
picture.  How  many  horses  do  you  see?  Let  us  listen 
and  raise  hands  when  we  hear  the  horses  in  the  tone 
picture.  One  man  has  a  horn.  Hold  hands  to  mouth  as 
if  blowing  a  horn  every  time  you  hear  the  horn. 

This  selection  may  be  dramatized  in  grades  one  and  two. 
Children  in  circle;  hold  hands  to  mouth  when  horn  is 
sounded  and  gallop  when  horses  are  heard. 

Little  Hunters  is  an  excellent  selection  for  a  tone  picture 
for  grammar  grades,  omitting  the  motions. 
«*»  115  *»• 


MUSIC    APPRECIATION 


HOW  TO  USE  18296-B 

The  children  enjoy  taking  two  pencils  and  playing  the 
xylophone.  This  selection  is  especially  well  suited  to  third 
grade,  because  there  are  several  places  where  the  xylo- 
phone has  a  few  measures  of  rest.  The  children  must 
listen  carefully  and  not  play  when  the  xylophone  has 
stopped.  They  wait  also  during  the  introduction  and  be- 
gin exactly  with  the  instrument  which  they  are  imitating. 

Tell  the  Chinese  legend  of  the  xylophone  from  Pan 
and  His  Pipes,  page  19. 

Use  same  selection  in  giving  the  instruments  of  the 
orchestra  in  the  grammar  and  high  school.  Show  picture 
of  xylophone  in  Orchestra  Charts.  Give  description  of 
instrument  from  booklet  with  Orchestra  Charts.  (See 
page  176.) 

HOW  TO  USE  18296-A 

This  selection  may  be  used  in  the  primary  grades  for 
cultural  hearing. 

In  the  upper  grades  it  may  be  used  for  recognition  of 
violin,  flute,  harp,  and  celesta.  This  is  especially  suitable 
for  such  work,  as  the  violin  and  celesta  are  heard  first, 
then  the  flute  and  celesta.  First  have  the  children  raise 
hands  each  time  the  violin  is  heard,  then  play  selection 
again  and  notice  the  flute.  Raise  left  hands  when  harp  is 
heard.  Use  pictures  of  instruments  from  Orchestra  Charts. 

HOW  TO  USE  17735 

Bird  records  may  be  used  for  innumerable  occasions. 
On  Arbor  Day,  May  Day,  etc.,  if  two  or  three  small 
machines  can  be  borrowed,  several  of  the  real  bird  records 
may  be  played  simultaneously.  If  the  instruments  may 
be  concealed  in  the  wings  or  behind  screens  or  flowers  the 
effect  is  beautiful.  (See  "Nature  Study.") 

•a*   116   «» 


CORRELATIONS 

HERE  lies  a  grave  danger  in  treating  music 
too  much  as  an  art  by  itself. 

Music  should  be  so  woven  into  the  dif- 
ferent activities  of  the  day,  that  the  child 
will  never  gain  the  idea  that  it  is  a  thing 
separate  and  apart.  It  should  be  infused 
into  almost  every  study  as  a  natural  illuminant  of  the  work 
in  reading,  writing,  nature  study,  art,  stories  of  other  lands, 
myths,  rhythms,  etc.,  etc.  Then,  and  only  then,  can  it 
really  enter  into  the  very  thought  processes  of  the  child 
and  have  a  place  in  the  events  of  daily  life. 

Nowhere  is  this  thought  more  clearly  brought  out  than 
in  the  educational  system  of  the  ancient  Greeks.  There, 
education  was  classified  under  two  heads :  Physical  Culture 
and  Music.  By  music  was  meant  all  the  arts  presided 
over  by  the  nine  Muses.  Music  entered  extensively  into 
every  art  and  science,  and  the  opinion  obtained  that  one 
without  musical  accomplishment  was  deficient  in  the 
culture  of  a  Greek  citizen. 

Lest  the  teacher  or  supervisor  may  confine  the  Victrola 
to  music  only,  without  permitting  it  to  enter  other  depart- 
ments upon  whose  studies  it  has  a  vital  bearing,  specific 
cases  under  various  subjects  are  herewith  presented,  that 
the  teachers  of  these  departments  may  avail  themselves 
of  this  effective  means  of  reaching  the  pupil.  The  Victrola 
as  an  element  of  interest,  ought  to  enlist  the  cooperation 
of  all  the  teachers  in  the  school.  The  use  of  Victor 
records  at  the  proper  time  in  many  recitations  does  much 
to  vitalize  the  lessons,  and  lifts  a  seemingly  dry  subject 

too    117    '*n 


MUSIC     APPRECIATION 


from  the  black-and-white  of  the  printed  page  into  the 
realm  of  human  interest. 

The  following  correlations  are  designed  to  give  only  a 
general  idea  of  the  very  wide  field  covered  by  Victor 
records.  Every  teacher  should  adapt  the  abundant 
wealth  of  the  material  to  the  conditions  and  needs  that 
exist  in  his  or  her  own  classroom. 


SUGGESTED  CORRELATIONS  OF  POETRY 
AND  MUSIC 

Music  of  the  same  fanciful  atmosphere  or  the  same 
temperamental  key  as  a  bit  of  verse  or  prose  reading  can 
often  enhance  the  beauty  and  vivify  the  impression  of 
such  a  reading. 

The  following  readings  have  been  chosen  from  some  of 
the  more  modern  primary  readers  that  have  met  with 
wide  use  in  schools,  and  are  listed  with  records  that  may 
be  used  to  advantage  in  this  correlative  way. 

The  Ancient  Mariner— Noel     (Holy  Night)     178 12 

He  prayeth  best  who  loveth  best 
All  things  both  great  and  small 
For  the  dear  God  who  loveth  us, 
He  made  and  loveth  all. 

— SAMUEL  TAYLOR  COLERIDGE 
(From  Riverside  Readers,  Book  III.    Used  by  permission  of  Houghton  Mitflin  Co.) 


Apple  Blossoms — -Spring  Song     (Mendelssohn)     18648 
To  Spring     (Grieg)     64264 

Have  you  seen  an  apple  orchard  in  the  spring? 

In  the  spring? 
An  English  apple  orchard  in  the  spring? 

When  the  spreading  trees  are  hoary 
With  their  wealth  of  promise-glory. 
And  the  mavis  pipes  his  story 

In  the  spring! 
(From  Blodgett  Readers,  Book  IV.     Used  by  permission  of  Ginn  &  Co.) 

«"  118  «" 


POETRY    AND     MUSIC 


Birds'  Orchestra— Sounds  of  the  Forest— 55092  or  16835 

Bobolink  shall  play  the  violin, 
Great  applause  to  win; 
Lonely,  sweet,  and  sad,  the  meadow-lark 
Plays  the  oboe.     Hark! 
Yellow-bird  the  clarionet  shall  play, 
Blithe,  clear  and  gay. 
Purple-finch  what  instrument  will  suit? 
He  can  play  the  flute. 

Fire-winged  blackbirds  sound  the  merry  fife, 
Soldiers  without  strife; 
And  the  robins  wind  the  mellow  horn 
Loudly,  eve  and  morn. 

Who  shall  clash  the  cymbals?  Jay  and  crow, 
That  is  all  they  know; 
And,  to  roll  the  deep  melodious  drum, 
Lo!  the  bull-frogs  come. 
Then  the  splendid  chorus !     Who  shall  sing 
Of  so  fine  a  thing? 

Who  the  names  of  the  performers  call 
Truly,  one  and  all?  — CELIA  THAXTER 

(From  Elson  Grammar  School  Readers,  Book  III.    Used  by  permission  of  Scott,  Foresman 
Co.) 

Bob  White— Spring  Voices— 16835 

There's  a  plump  little  chap  in  a  speckled  coat, 
And  he  sits  on  the  zigzag  rails  remote, 
Where  he  whistles  at  breezy,  bracing  morn, 
When  the  buckwheat  is  ripe,  and  stacked  is  the  corn, 
"Bob  White!     Bob  White!     Bob  White!" 
— GEORGE  COOPER 

(From  Riverside  Headers,  Book  IV.     Used  by  permission  of  Houghton  Mifllin  Co. 

The  Brook— At  the  Brook— 64103  or  The  Brook— 64324. 

I  come  from  haunts  of  coot  and  hern, 

I  make  a  sudden  sally, 
And  sparkle  out  among  the  fern, 

To  bicker  down  a  valley.  — TENNYSON 

(From  Riverside  Readers,  Book  VI.    Used  by  permission  of  Houghton  Mifflin  Co.) 

The  Brooklet— By  the  Brook— 17844 

The  Brooklet     (Schubert)     17532 

See  the  brooklets  flowing,  Yet  to  help  their  giving, 

Downward  to  the  sea,  Hidden  springs  arise; 

Pouring  all  their  treasures  Or,  if  need  be,  showers 

Bountiful  and  free!  Feed  them  from  the  skies. 

— ADELAIDE  A.  PROCTOR 

(From  Elson  Primary  School  Reader,  Book  III.    Used  by  permission  Scott,  Foresman  Co.) 

000  119  «» 


MUSIC    APPRECIATION 


The  Brown  Thrush— Song  of  the  Thrush— 45057 

There's  a  merry  brown  thrush  sitting  up  in  a  tree — 

He's  singing  to  you!  he's  singing  to  me! 

And  what  does  he  say,  little  girl,  little  boy? 

"Oh  the  world's  running  over  with  joy! 

Don't  you  hear?     Don't  you  see? 

Hush!     Look!     In  my  tree, 

I'm  as  happy  as  happy  can  be!" 

— LUCY  LARCOM 

(FromElson  Grammar  School  Readers,  Book  I.  Used  by  permission  of  Scott,  Foresman  Co.) 

The  Bumble  Bee— The  Bee— 64076 

My  name  is  Mr.  Bumblebee, 

I  come  with  merry  din; 
For  when  the  purple  flowers  I  see, 

Oh,  then  I  do  begin 
To  boom,  boom,  buzz,  buzz, 

Boom,  buzz,  boom! 
Oh,  I'm  a  rover  in  the  land 

And  all  I  need  is  room! 

— MARTHA  A.  L.  LANE 

(From  Jones  Readers,  Book  II.     Used  by  permission  of  Ginn  &  Co.) 

Cradle  Song— Lullaby  from  "Erminie"— 18622 

Sleep,  baby,  sleep! 

The  great  stars  are  the  sheep, 

The  little  stars  are  the  lambs,  I  guess; 

The  bright  moon  is  the  shepherdess. 

Sleep,  baby,  sleep! 
(From  Jones  Readers,  Book  II.     Used  by  permission  of  Ginn  &  Co.) 

A  Farewell — Four  Leaf  Clover — 64139 

Be  good,  sweet  maid,  and  let  who  will  be  clever; 

Do  noble  things,  not  dream  them,  all  day  long; 
And  so  make  life,  death,  and  that  vast  forever 

One  grand,  sweet  song. 

— CHARLES  KINGSLEY 

(From  Elson  Primary  School  Reader,  Book  IV.  Used  by  permission  of  Scott,  Foresman  Co.) 

The  Fountain— The  Fountain— 70031 

Into  the  sunshine,  Glorious  fountain! 

Full  of  the  light,  Let  my  heart  be 

Leaping  and  flashing  Fresh,  changeful,  constant, 

From  morn  till  night!  Upward,  like  thee! 

— JAMES  RUSSELL  LOWELL 
(From  Ebon  Grammar  Sch°ol  Readers,  Book  II    Used  by  permission  Scott,  Foresman  Co.) 

«»  120  «" 


POETRY    AND    MUSIC 


Humility— Song  of  a  Nightingale— 45057 

The  bird  that  soars  on  highest  wing 

Builds  on  the  ground  her  lowly  nest; 
And  she  that  doth  most  sweetly  sing 
Sings  in  the  shade  when  all  things  rest. 
In  lark  and  nightingale  we  see 
What  honor  hath  humility. 

— JAMES  MONTGOMERY. 

(From  Elson  Primary  School  Reader,  Book  IV.    Used  by  permission  of  Scott,  Foresman 
Co.) 


The  Lotus-Eaters—Nocturne  in  E  Flat     (Chopin)— 74052 
There  is  sweet  music  here  that  softer  falls 
Than  petals  from  blown  roses  on  the  grass, 
Or  night  dews  on  still  waters  between  walls 
Of  shadowy  granite,  in  a  gleaming  pass; 
Music  that  gentlier  on  the  spirit  lies, 
Than  tired  eyelids  upon  tired  eyes; 
Music  that  brings  sweet  sleep  down  from  the 
blissful  skies. 

— TENNYSON 

(Art  Music  Readers,  Book  II.     Used  by  permission  of  Atkinson,  Mentzer  Co.) 


On  the  Wild  Rose  Tree— To  a  Wild  Rose— 18208  or  17691 

On  the  wild  rose  tree 
Many  buds  there  be, 
Yet  each  sunny  hour 
Hath  but  one  perfect  flower. 

Thou  who  wouldst  be  wise 
Open  wide  thine  eyes; 
In  each  sunny  hour 
Pluck  the  one  perfect  flower! 

— RICHARD  WATSON  GILDER 
(From  Studies  in  Reading,  Book  V.    Used  by  permission  of  University  Publishing  Co.) 


Origin  of  Music— Bird  Chorus — 45163—16835 

The  birds  instructed  man, 
And  taught  him  songs  before  his  art  began; 
And  while  soft  evening  gales  blew  o'er  the  plains, 
And  shook  the  sounding  reeds,  they  taught  the  swains, 
And  thus  the  pipe  was  framed  and  tuneful  reed. 

— LUCRETIUS 

(From  Art  Music  Readers,  Book  I.     Used  by  permission  of  Atkinson,  Mentzer  Co.) 
«*>  121  «» 


MUSIC    APPRECIATION 


The  Schoolhouse  and  the  Flag — 

Star-Spangled    Banner— 17581  or  18338 
Our  Flag— 18649 

Ye  who  love  the  Republic,  remember  the  claim 
Ye  owe  to  her  fortunes,  ye  owe  to  her  name, 
To  her  years  of  prosperity  past  and  in  store — 
A  hundred  behind  you,  a  thousand  before! 

The  blue  arch  above  us  is  Liberty's  dome, 
The  green  fields  beneath  us  Equality's  home; 
But  the  schoolroom  to-day  is  Humanity's  friend — 
Let  the  people,  the  flag  and  the  schoolroom  defend! 

'Tis  the  schoolhouse  that  stands  by  the  flag; 
Let  the  nation  stand  by  the  school ! 
'Tis  the  schoolbell  that  rings  for  our  Liberty  old, 
'Tis  the  schoolboy  whose  ballot  shall  rule. 

— FRANK  TREAT  SOUTHWICK 

(From  Studies  in  Reading,  Advanced  Reader.    Used  by  permission  of  University  Pub 
lisbing  Co.) 

Sensibility— Melody  in  F— (Rubinstein)— 45096 
The  soul  of  music  slumbers  in  the  shell, 
Till  waked  and  kindled  by  the  master's  spell; 
And  feeling  hearts — touch  them  but  lightly — pour 
A  thousand  melodies  unheard  before! — ROGERS 
(From  Art  Music  Readers,  Book  II.     Used  by  permission  of  Atkinson,  Mentzer  Co.) 

Signs  of  the  Season — Song  of  Autumn — (Tschaikowsky)  —64577 
AVhat  does  it  mean  when  the  bluebird  flies 

Over  the  hills,  singing  sweet  and  clear? 
When  violets  peep  through  the  blades  of  grass? 

These  are  the  signs  that  spring  is  here. 

What  does  it  mean  when  crickets  chirp? 

And  away  to  the  Southland  the  wild  geese  steer? 
When  apples  are  falling  and  nuts  are  brown? 

These  are  the  signs  that  autumn  is  here. 
— M.  E.  X.  HATHAWAY 

(From  Elson  Primary  School  Reader,  Book  III.    Used  by  permission  of  Scott,  Foresman 
Co) 

The  Skylark— Hark!  Hark!   the  Lark— (Schubert)     64218 
Lo,  Here  the  Gentle  Lark— 88073  or  74608 
Bird  of  the  wilderness, 
Blithesome  and  cumberless, 
Sweet  be  thy  matin  o'er  moorland  and  lea! 
- — JAMES  HOGG 

(From  Blodgett  Headers,  Book  V.     Used  by  permission  of  Ginn  &  Co.) 


POETRY    AND     MUSIC 


The  Slumberland  Boat— Slumber  Boat— (Gaynor)— 18448 

There's  a  boat  that  leaves  at  half-past  six 
From  the  busy  town  of  Play, 
And  it  reaches  the  haven  of  Slumberland 
Before  the  close  of  day. — EMELINE  GOODROW 

From  Elson  Primary  School  Reader,  Book  I.    Used  by  permission  of  the  Author  and 
Scott,  Foresnian  Co.) 

Song — Sylvia  Ballet— Pizzicato — (with  bird  voices) — 45113 

Sing,  little  bird,  oh  sing! 

How  sweet  thy  voice  and  clear! 
How  fine  the  airy  measures  ring, 

The  sad  old  world  to  cheer! 

Bloom,  little  flower,  oh  bloom! 

Thou  makest  glad  the  day; 
A  scented  torch,  thou  dost  illume 

The  darkness  of  the  way. 

Dance,  little  child,  oh  dance! 

While  sweet  the  small  birds  sing, 
And  flowers  bloom  fair,  and  every  glance 

Of  sunshine  tells  of  spring. 

Oh!  bloom,  and  sing,  and  smile, 

Flower,  bird,  and  child,  and  make 
The  sad  old  world  forget  awhile 

Its  sorrow  for  your  sake! — CELIA  THAXTER 

(From  Elson  Grammar  School  Reader,  Book  II.    Used  by  permission  of  Scott,  Foresman 
Co.) 

Song  of  the  Bee— The  Bee— (Schubert)— 64076 

"Buzz!  buzz!  buzz!" 

This  is  the  song  of  the  bee. 

His  legs  are  of  yellow; 

A  jolly  good  fellow, 

And  yet  a  great  worker  is  he. 

(From  Blodgett  Readers,  Book  I.     Used  by  permission  of  Ginn  &  Co 


The  Stormy  Petrel— Songs  of  Our  Native  Birds  No.  1—55049 

Up  and  down!  up  and  down! 

From  the  base  of  the  wave  to  the  billow's  crown; 

And  midst  the  flashing  and  feathery  foam 

The  Stormy  Petrel  finds  a  home. — BARRY  CORNWALL 

(From  Blodgett  Readers,  Book  VI.     Used  by  permission  of  Ginn  &  Co. 
«*>  123  ««9 


MUSIC    APPRECIATION 


Stradivarius— Minuet  in  G,  No.  2—64121 

When  any  master  holds 

'Twixt  chin  and  hand  a  violin  of  mine, 

He  will  be  glad  that  Stradivari  lived, 

Made  violins,  and  made  them  of  the  best. 

The  masters  only  know  whose  work  is  good; 

They  will  choose  mine,  and  while  God  gives  them  skill 

I  give  them  instruments  to  play  upon, 

God  choosing  me  to  help  Him. 

— GEORGE  ELIOT 

(From  Art  Music  Readers,  Book  II.     Used  by  permission  of  Atkinson,  Mentzer  Co.) 
See  also  "The  Violin  Makers  of  Cremona,"  Pan  and  His  Pipes,  p.  49. 


Voice  of  Spring,    The — Serenade — (Moszkowski)     (with    bird 
voices) — 45085 

Turn  thy  eyes  to  earth  and  heaven: 
God  for  thee  the  spring  has  given, 
Taught  the  birds  their  melodies, 
Clothed  the  earth  and  cleared  the  skies 
For  thy  pleasure  or  thy  food — 
Pour  thy  soul  in  gratitude. 

— MARY  HOWITT 

(From  Elson  Grammar  School  Readers,  Book  II.    Used  by  permission  of  Scott,  Foresman 
Co.) 

Which  Wind  is  Best?— Wind  Amongst  the  Trees— 70026 

Whichever  way  the  wind  doth  blow, 
Some  heart  is  glad  to  have  it  so; 
And  blow  it  east  or  blow  it  west, 
The  wind  that  blows,  that  wind  is  best. 

— CAROLINE  A.  MASON 

(From  Elson  Primary  School  Reader,  Book  III.    Used  by  permission  of  Scott,  Foresman 
Co.) 

The  World's  Music— Moment  Musical— 18216  or  74202 

The  world's  a  very  happy  place, 
Where  every  child  should  dance  and  sing. 
— GABRIEL  SETOUN 

(From  Aldine  Readers,  Book  III      Used  by  permission  of  Newson  &  Co,) 


124 


CHILDREN    OF    OTHER    LANDS 


LITTLE  CHILDREN  OF  OTHER  LANDS 

Elementary  studies  in  geography  and  nationality  may 
be  vitalized  for  small  children  in  the  following  manner: 

1.  Dress  a  clothes-pin  doll  for  each  country  in  question. 

2.  Draw,  or  color  from  pattern,  the  flag  of  each  country. 

3.  Collect  from  home  appropriate  pictures  from  maga- 
zines and  paste  them  in  a  booklet. 

4.  Make  a  sand-tray  of  a  characteristic  scene  from  each 
country. 

5.  Cut  from  paper  some  characteristic  furniture,  ani- 
mal, boat,  plant,  etc. 

6.  Make  frame-work  for  harp  out  of  paste-board,  and 
use  rubber  bands  for  strings. 

The  amount  of  time  to  be  given  to  the  presentation  of 
each  country  is  dependent  entirely  upon  the  conditions 
confronting  the  individual  teacher.  Rather  than  hurry 
through  all  the  material,  select  a  part  and  present  it  in  a 
thorough  manner.  Have  as  many  interesting  illustrations 
as  possible  and  place  them  where  the  children  can  look  at 
them  during  the  period  before  school  as  well  as  during 
the  recitation. 

When  taking  up  the  study  of  a  country,  center  all 
activity  around  this  subject.  Encourage  suggestions  from 
children. 

The  following  studies  of  Italy,  France  and  Ireland  are 
designed  as  models.  Other  countries  may  be  studied  in 
like  manner. 

Directions  for  all  folk  dances  may  be  found  in  the 
Burchenal  books.     (Published  by  G.  Schirmer  Co.) 
taa  125  *o» 


MUSIC    APPRECIATION 


Ireland 

A  very  delightful  way  to  introduce  the  music  of  Ireland 
is  by  use  of  McCormack's  A  Little  Bit  of  Heaven,  Record 
No.  64543.  This  makes  a  splendid  story  for  the  children 
to  reproduce  in  the  language  class. 

(Show  the  picture  of  the  Irish  Jig.)  The  jig  is  a  favorite 
dance  in  Ireland.  How  much  these  people  seem  to  be 
enjoying  it!  What  has  the  man  in  his  hand?  Yes,  a 
cane.  Let  us  use  pencils  for  canes  and  tap  the  desk  four 
times  then  wave  in  the  air  four  times.  (Continue  this 
for  first  theme.) 

What  is  the  man  in  the  corner  doing?  Yes,  he  is  play- 
ing a  fiddle — as  the  Irish  call  the  violin.  Let  us  play  the 


IRISH  JIG — NEW  YEAR'S  EVE  IN  IRELAND 
«o»  126  ««• 


CHILDREN    OF    OTHER    LANDS 

fiddle  and  rest  a  while  from  dancing,  then  the  next  time 
we  shall  take  our  cane  again.  (Use  Record  No.  17002,  or 
Irish  Lilt,  on  Record  No.  17331.) 

The  Irish  as  well  as  the  Scotch  use  the  bagpipes.  Show 
a  picture  of  a  bagpipe  player,  and  use  Record  No.  18639. 

The  harp  is  the  national  instrument  in  Ireland.  (See 
foregoing  suggestions  for  handwork.) 

For  children  to  learn  the  tone  quality  of  the  harp, 
play  The  Fountain,  Record  No.  70031. 

For  folk  dance,  use  Rinnce  Fada,  Record  No.  17840. 

Italy 

To-day  we  are  in  Italy.  When  the  Italian  boys  and 
girls  hear  this  selection  they  all  stand  up.  Why?  It  is 
their  Star-Spangled  Banner.  Yes,  it  is  their  national 
anthem.  (Play  Record  No.  16136,  Royal  March.)  What 
does  it  make  you  feel  like  doing?  (March.)  Yes,  we  want 
to  march  just  like  the  Italian  soldiers.  (March  with  hands 
if  time  and  space  are  limited.) 

I  want  you  to  listen  very  carefully  and  then  tell  me 
where  the  Italian  boys  and  girls  would  hear  this  kind  of 
music.  (Play  Record  No.  17548-A,  Gloria  Patri.)  (In 
church.)  Yes,  there  is  something  interesting  about  the 
Italian  children's  church.  In  some  of  their  churches  they 
have  two  choirs,  one  at  the  front  of  the  church  and  one 
way,  wray  at  the  other  end.  WTe  shall  sit  in  the  front  part  of 
the  church.  Which  choir  will  sound  louder?  (The  one  at 
the  front.)  Yes,  now  when  you  hear  the  choir  at  the  back 
of  the  church  begin  to  sing,  you  may  raise  your  hand. 
(Play  17548-B.)  I  shall  know  then  that  you  hear  the  softer 
singing  which  sounds  softer  because  it  is  farther  awray  from 
us.  Isn't  this  beautiful  music?  How  much  the  Italian 
children  must  enjoy  hearing  music  like  this  every  Sunday ! 
eao  127  *°» 


MUSIC    APPRECIATION 


(Play  Record  No.  64437,  Funiculi-Funicula.)  Where 
would  the  Italian  boys  and  girls  hear  this  kind  of  music? 
In  church?  (No,  when  they  are  playing.)  Yes,  this  sounds 
happy.  There  is  something  which  I  know  you  wrould  like 
to  hear  about  this  selection.  There  is  a  mountain  in  Italy 
which  is  different  from  the  mountains  in  this  country,  for 
there  is  fire  inside  of  it.  This  burns  all  the  time,  and 
smoke  comes  out  just  as  from  a  chimney.  (Show  a 
picture  of  Mt.  Vesuvius.)  Later  we  shall  learn  about 
this  in  our  geography. 

Many  people  like  to  climb  up  and  look  in  the  big  hole 
at  the  top  of  this  mountain.  A  very  strange  railroad  has 
been  built.  It  is  called  a  "funicular  railroad,"  because  there 
are  no  engines  or  electric  cars  such  as  we  ride  in.  When 
one  car  is  coming  down,  it  pulls  another  up.  Isn't  that  a 
queer  sort  of  railroad?  When  this  railroad  was  finished, 
there  was  a  great  celebration,  and  this  song  was  written 
to  be  sung  at  that  time.  The  Italian  people  liked  the  song 
so  much  that  they  have  sung  k  a  great  deal  ever  since. 

Let  us  make  believe  that  we  are  Italian  boys,  and  that 
each  one  of  us  has  two  cymbals.  (Slide  hands,  touching 
palms.  Do  this  on  chorus  only.  After  a  second  hearing, 
children  will  know  where  to  begin.  When  this  is  well  done, 
try  four  of  the  cymbal  motions  and  clap  three  times.) 

I  wonder  how  many  have  seen  an  instrument  called 
an  "accordion."  The  Italian  boys  and  girls  will  sit  by 
the  hour  and  listen  to  their  fathers  play  upon  the  accordion. 
(Show  a  picture.)  We  are  going  to  have  an  Italian  man 
play  the  accordion  for  us.  What  do  you  think  he  will 
choose?  (His  Star-Spangled  Banner.)  Yes,  for  he  loves 
that  song.  (Play  Record  No.  18361.)  He  plays  another 
Italian  national  song,  then  the  English  national  hymn, 
and  then  the  French. 

«>•  128  •*• 


CHILDREN    OF    OTHER    LANDS 


There  is  one  city  in  Italy  called  Venice,  and  there  the 
streets  are  of  water.  There  are  no  automobiles.  People 
go  from  place  to  place  in  boats.  (Show  a  picture.)  The 
boats  which  the  people  go  about  in  are  called  "gondolas," 
and  the  men  who  row  them  are  gondoliers.  Often  these 
men  are  very  happy,  and  sing  as  they  glide  along.  Can't 
you  just  hear  what  this  music  is  going  to  be  like?  Swing 
and  swing  as  smoothly  and  quietly  as  the  boats  move 
along.  (Play  In  a  Gondola,  Record  No.  64530.  Children  do 
a  swaying  motion.)  Is  this  music  like  the  march  which  we 
heard  when  we  first  came  to  Italy?  Is  it  like  the  church 
music?  How  different  the  music  is  for  all  these  things. 


THE  TARANTELLA — NEAPOLITAN  DANCE 

The^Italian  people  love  to  dance.  They  have  many 
pretty  dances.  One  dance  which  I  know  you  will  want  to 
hear  about  is  the  Tarantella.  This  name  comes  from  the 
name  of  a  spider  whose  bite  will  poison  a  person.  The 
Italians  used  to  believe  that,  when  bitten  by  this  spider, 
if  they  would  dance  very,  very  rapidly  they  would  be  cured. 
(Play  Record  No.  17174,  Tarantella,  by  Saint-Saens.)  How 
fast  the  people  must  have  to  dance  to  this  music! 

an   129    «*> 


MUSIC     APPRECIATION 


Teach  Italian  folk  dance  Tantoli,  Record  No.  17159 — 
directions  in  Folk  Dance  Music  by  Burchenal-Crampton. 

France 

I  am  sure  we  should  all  enjoy  hearing  the  national 
anthem  of  the  little  French  children.  It  is  a  very  wonder- 
ful song.  It  makes  one  want  to  inarch.  (Record  No. 
17668,  or  use  selection  from  a  Medley  of  Rational  Airs.) 
Let  us  march  with  our  hands,  keeping  time  like  soldiers — 
left,  right,  left,  right. 

Now,  we  are  going  to  have  a  song  which  the  French 
children  love  very  much.  It  is  about  a  bridge  where  they 
go  to  dance.  We  are  going  to  hear  the  song  in  French. 

Le  Pont  D'Avignon  (The  Bridge  of  Avignon) 


M 


"TiiK  GENTLEMEN  ALL  DO  THIS  \V.\v  " 


"THE  LADIES  ALL  DO  THIS  WAY'' 
«»  130  ««> 


CHILDREN     OF    OTHER    LANDS 


The  little  French  children  could  understand  this  song, 
but  we  cannot,  so  I  shall  tell  you  all  about  the  game 
before  the  lady  sings  the  song.  (Record  No.  72166.)  (See 
other  French  songs  for  children  on  pages  55-61.) 

A  beautiful  French  folk  dance  is  this  Far andole,  Record 
No.  18368. 

In  France  long,  long  ago,  the  children  dressed  exactly 
like  their  fathers  and  mothers,  and  used  to  wear  very 
fancy  clothes.  Would  you  think  the  music  for  their 
dances  would  be  fast  or  slow?  Yes,  slow,  because  with  all 
their  fine  clothes  they  could  not  move  about  quickly. 
We  are  going  to  hear  a  French  dance.  Let  us  have  cym- 
bals for  four  counts  and  clap  four  counts.  When  the  music 
changes,  we  shall  sit  quietly,  waiting  to  hear  the  first 
theme  again,  and  then  we  shall  use  cymbals  and  clapping. 
(Amaryllis,  Record  No.  16474.) 


OLD  FRENCH  DANCE 
«*>  131  «» 


From  a  Copley  print  used 
by  permission  of  Curtis 
&  Cameron,  Inc. 


BY    WILLIAM    J.  BAER 


THE  BIRD'S  NEST 


NATURE  STUDY 

To  him  who,  in  the  love  of  Nature,  holds 
Communion  with  her  visible  forms,  she  speaks 
A  various  language;  for  his  gayer  hours 
She  has  a  voice  of  gladness,  and  a  smile 
And  eloquence  of  beauty;  and  she  glide* 
Into  his  darker  musings  with  a  mild 
And  healing  sympathy,  that  steals  away 
Their  sharpness,  ere  he  is  aware. 

— BRYANT 

All  too  long,  in  both  city  and  country,  have  we  turned 
our  backs  to  the  joys  and  beauties  of  nature.  In  the  large 
city,  of  course,  opportunities  for  intimate  contact  with 
nature  are  limited.  But  this  does  not  excuse  the  abysmal 
ignorance  of  the  natural  world  that  is  so  widely  found 
among  children  of  the  city,  nor  the  lack  of  response  to  its 
romance  in  town  and  country. 

A  striking  illustration  of  the  utter  lack  of  the  refin- 
ing influences  of  nature  among  the  children  of  a  great 
city  is  to  be  noted  in  an  incident  that  occurred  during  a 
large  folk-dance  festival  recently  held  in  one  of  the  great 
Eastern  cities.  Children  from  the  schools  were  taken 
to  one  of  the  city's  parks  to  participate  in  this  festival, 
and,  although  it  is  almost  unbelievable,  that  day  hundreds 
of  children  placed  their  feet  upon  growing  grass  for  the 
first  time  in  their  lives.  Only  at  the  expense  and  effort  of 
the  city  were  they  given  the  opportunity  to  touch  the  green 
sward,  smell  the  flowers,  and  listen  to  the  songs  of  the 
birds. 

Not  long  ago,  records  presenting  actual  bird  voices  and 
bird  imitations  were  played  for  little  children  in  one  of  the 
East  Side  schools  of  New  York  City,  but  without  effect  or 
response.  Bird  voices  to  them  were  only  so  many  mean- 
ingless sounds.  In  no  way  were  the  children  able  to  bring 
««•  133  ««• 


MUSIC     APPRECIATION 


such  sounds  within  the  scope  of  their  limited  horizons, 
to  interrelate  and  identify  them  with  the  experiences 
of  their  own  little  lives. 

In  small  towns  and  country  districts,  nature  is  bountiful 
in  her  gifts,  but  even  there  we  may  see  the  need  for 
acquaintance  with  and  information  about  nature.  The 
logical  place  to  gain  this  acquaintance  is  in  the  woods  and 
fields;  but  in  the  schoolroom,  with  the  Victrola  and  Victor 
records  at  hand  the  teacher  has  an  ally  of  incalculable 
value  in  promoting  nature  study. 

One  of  the  most  wholesome  phases  of  this  movement  is 
the  attention  being  given  to  the  matter  of  the  preservation 
of  our  native  birds.  Numerous  bird  clubs,  Audubon 
societies,  Boy  Scouts,  Camp  Fire  Girls,  etc.,  have  done 
much  to  interest  the  younger  generation  in  the  study 
and  protection  of  our  bird  friends.  Congress  has  passed  a 
Federal  act  to  insure  a  nation-wide  safety  for  the  valuable 
feathered  songsters.  The  camera  and  bird-house  are  fast 
taking  the  place  of  the  murderous  sling-shot  and  rifle.  Nearly 
every  classroom  is  adorned  with  colored  pictures  of  birds. 

Among  the  excellent  records  of  bird  songs  offered, 
Mr.  Charles  Kellogg,  the  gifted  naturalist,  reproduces  the 
calls  of  the  catbird,  stormy  petrel,  cardinal  red  bird, 
house  wren,  loon,  red-winged  blackbird,  bobolink,  Cali- 
fornia mountain  quail,  and  marsh  birds  (Record  55049-A). 
In  another  one  (Record  55049-B)  he  presents  the  calls 
of  the  ring  dove,  goldfinch,  wood  pewee,  bluejay,  whip- 
poor-will,  mourning  dove,  meadow  lark,  white-throated 
sparrow,  mother  call  of  catbird,  barn-owl,  and  hoot  owl. 
A  few  well-chosen  words  of  explanation  precede  each  call. 
In  How  Birds  Sing  and  The  Bird  Chorus  (Record  45163-A 
and  B)  Mr.  Kellogg  presents  further  bird  calls  that  charm 
the  ears  of  little  listeners. 


NATURE    STUDY 


But  in  his  imitative  power  Mr.  Kellogg  is  highly  versa- 
tile, and  in  Sounds  of  the  Forest,  Parts  I  and  II  (Record 
55092-A  and  B),  he  gives  the  calls  and  cries  of  both  the 
furred  and  feathered  creatures  of  nature;  the  widely- 
varied  songs  of  the  mocking  bird,  the  contented  chirp  of 
the  cricket,  the  bulbous-throated  call  of  the  frog,  the  shy 
note  of  the  wild  turkey,  the  love  song  of  the  moose,  etc. 
This  record  likewise  possesses  illuminating  explanations  of 
each  call. 

Mr.  Charles  Gorst,  another  naturalist  and  bird-lover, 
has  given  the  songs  and  calls  of  the  American  robin, 
killdeer,  bluejay,  bluebird,  wood  thrush,  yellow-billed 
cuckoo,  mocking  bird,  Kentucky  cardinal  or  red  bird, 
oven  bird,  red-eyed  vireo,  Baltimore  oriole,  mourning 
dove,  and  Western  meadow  lark  (Record  17735-A  and  B). 
The  name  of  each  bird  is  announced  before  the  song  is 
rendered. 

The  above-named  records,  together  with  the  actual 
voices  of  the  real  nightingale  and  thrush  (Record  45057), 
and  sprosser  (Record  45058),  are  an  invaluable  aid  to 
nature  study  in  our  schools. 

Closely  allied  with  the  foregoing  records  are  the  nature 
songs  and  stories  offered  for  use  in  the  lower  grades,  which 
may  be  presented  supplementary  to  nature  study.  An 
instant  appeal  is  to  be  found  in  records  that  celebrate  in 
song  and  story  such  important  personages  of  the  child 
world  as  Mr.  Duck  and  Mr.  Turkey,  Mr.  Squirrel,  Robin 
Red  Breast,  the  blue  bird,  the  bobolink,  the  bunny,  the 
little  red  hen,  the  pussy  cat,  and  many  others;  or  when 
the  children  recognize  in  terms  of  music  such  familiar 
objects  and  phenomena  as  the  brook,  wind  amongst  the 
trees,  the  whirlwind,  the  fountain,  the  bee,  the  rain,  a 
dewdrop,  poppies,  violets,  daffodils,  tulips,  cat-tails,  etc. 
«»  135  «» 


MUSIC    APPRECIATION 


The  following  is  a  list  of  records,  in  addition  to  those 
already  named,  suitable  for  presentation  in  conjunction 
with  nature  study  in  the  kindergarten  and  primary  grades : 


At  the  Brook 

64103 

Marguerites                             17686 

Mocking  Bird,  The  (Whist- 

Bee, The 

64076 

ling)                                      18083 

Birds  of  the  Forest  Gavotte 

16835 

Mocking  Bird,  The   (Xylo- 

Blue Bird 

17776 

phone)                                  16969 

Bobolink,  The 

17686 

Mr.  Duck  and  Mr.  Turkey    17776 

Bunny,  The 

17776 

Mr.  Squirrel                              17776 

Buttercups 

18649 

Butterfly 

35448 

Naming  the  Trees                   17719 

By  the  Brook 

17844 

Narcissus                                  17472 

Nightingale,  The                     18330 

Canary  and  Thrush  Duet 

45058 

Cat-tails 

18015 

Owl,  The                                  17686 

Chanticleer 

17513 

Chicken,  The 
Corn  Soldiers 

17776 
17719 

Poppies                                     17625 
Poppy  Lady                             17686 

Cuckoo  Music                 * 

17513 

Pretty  Tulip                              18649 

Cygne,  Le  (The  Swan) 

45096 

Pussy  Cat                                  18076 

Daffodils 

18015 

Rain  Song                                17004 

Dance  of  the  Song  Birds 
Dew  Drop,  A 

17521 
17004 

Robin  Red  Breast                   16094 
Robin's  Return                       17686 

Froggies'  Swimming  School 
Fountain,  The 

17596 
70031 

Six  Little  Puppies                   17776 
Squirrel,  The                           17719 
Sweet  Pea  Ladies                    17625 

Gold6nch,  The                     * 

To  a  Wild  Rose                       17691 

Humoresque  (Bird  Voices) 
Hunt  in  the  Black  Forest 

45061 
35324 

Tracks  in  the  Snow                 18074 
Tulips                                       17686 

Violet,  The                                18649 

I  Love  Little  Pussy 

18076 

Violets                                        17625 

Jack-in-the-  Pulpit 

17719 

Voices  of  the  Woods               17121 

Wah-wah-taysee  (Little  Fire- 

Katydid 

17625 

fly)                                          35617 

What    Does    Little    Birdie 

Leaves'  Party,  The 

18074 

CQ,rS                                                                                                           * 

oav. 

Little  Birdie 

17776 

Whirlwind,  The                       18684 

Little  Bull  Calf,  The 

35643 

Wind  Amongst  the  Trees       70026 

Little  Firefly 

64705 

Wind  and  the  Sun                  17198 

Little  Jackal  and  the  Alli- 

Wise Bird,  The                        18649 

gator,  The 

T  "*.*!       "D     J    TT 

35636 

1  fyaart 

Woodpecker,  The                     17686 

117     _            T^U                                                                         # 

Little  Ked  Hen 

173J2 

\\  ren,  1  ne 

•Record  in  preparation. 


136  •«• 


PICTURES    AND     MUSIC 


PICTURES  AND  MUSIC 

Often  a  musical  selection  may  reinforce  the  impression 
made  upon  pupils  by  a  famous  picture.  Indian  pictures 
cannot  fail  to  add  to  the  romance  of  Indian  lore.  The 
appeal  of  The  Angelus  (Millet)  will  be  strengthened  by  such 
selections  as  Adeste  Fideles,  played  on  the  chimes,  and 
Evening  Chimes  (18018).  Pictures  of  the  great  composers 
are  readily  available.  Suggested  correlations  of  pictures 
with  records  are: 


CHILD  HANDEL     (Dicksee) 

MOZART  AND  Hrs  SISTER     (Schneider) 
INFANT  MOZART  BEFORE  MARIA 

THERESA     (Ender) 
CHILD  MOZART     (Barrias) 
MOZART  AND  Hrs  SISTER  BEFORE 

MARIA  THERESA     (Borchmann) 

MENDELSSOHN  AND  His  SISTER 
(Poetzelberger) 

SWEET  AND  Low     (Taylor) 
HIAWATHA     (Taylor) 
APPEAL  TO  THE  GREAT  SPIRIT 
END  OF  THE  TRAIL     (Fraser) 
INDIAN  SHEPHERD     (Couse) 
INDIAN  HUNTER     (Couse) 
SPRING     (Jones) 
SPRING  LANDSCAPE     (Corot) 

AFTER  A  SPRING  SHOWER     (Inness) 


(Pastoral  Symphony  \ 
|  See,  the  Conqv'ring  Hero  } 
[Largo  (Handel) 


18655 

74384 


Gavotte 
Menuett 


17917 
17917 


THE  BIRD'S  NEST     (Baer) 

ADORATION  OF  THE  SHEPHERDS    (Couse) 

THE  AGE  OF  INNOCENCE    (Reynolds) 
DANCING  CHILDREN  (Corot) 


(Capricietto 

\May  Breeze 

(On  Wings  of  Song 

Sweet  and  Low 

Hiawatha's  Childhood 

The  Sacrifice 

Indian  Lament 

\From  an  Indian  Lodge      17035 

Spring  Song  18648 

To  a  Wild  Rose  17691 

I  To  Spring  64264 

Spring  Voices  16835 
Wind  Amongst  the  Trees    70026 

The  Whirlwind  18684 

[flower  Song  45107 
\The  Wren 

Silent  Night  17842 

Noel  17842 
Pastoral  Symphony 

(Messiah)  18655 

Simple  Confession  17143 

Morning  (Grieg)  35470 

Aubade  Provengale  64202 

Danse  les  Mirlitons  45053 


*  Record  in  preparation. 


137 


PRIMARY  STORIES  AND  POEMS 

ROFICIENCY  in  story  telling  is  a  vital 
part  of  the  professional  equipment  of  every 
successful  primary  teacher.  The  records  of 
universally-used  stories  by  noted  authorities 
in  story  telling  are  designed  to  furnish  a 
model  for  the  teacher  and  at  the  same  time 
to  stimulate  in  the  pupils  new  interest  in  familiar  stories 
through  the  hearing  of  voices  to  whose  tone  and  inflections 
they  are  unaccustomed. 

The  hearing  of  stories  and  poems  is  a  valuable  aid  to 
music  appreciation  in  that  it  cultivates  good  habits  of 
listening  and  attention. 

As  an  aid  to  the  teacher  in  securing  pupils'  reproduc- 
tion or  re-telling  of  the  stories,  it  is  suggested  that  after 
the  children  are  familiar  with  a  story,  only  a  portion  of  the 
record  be  played,  the  pupils  being  required  to  complete 
the  story  in  part  or  as  a  whole. 

Dramatization  plays  an  important  part  in  developing 
language  power  in  children,  and  suggestions  are  given  for 
the  dramatization  of  some  of  the  stories  by  the  class  as  a 
whole  or  by  individuals.  These  stories  may  be  readily 
adapted  to  conform  to  local  needs  and  classes  of  children. 
It  is  recommended  that  care  be  exercised  that  pupils  do  not 
confuse  narration  or  oral  re-telling  of  the  stories  with 
dramatization.  Such  characters  only  should  be  acted  as 
are  clearly  personified  in  the  story.  In  cases  where  the 
story  text  is  quoted  in  the  following  suggestions,  the 
pupils  may  dramatize  as  the  record  plays. 


MUSIC    APPRECIATION 


By  the  Shores  of  the  Gitchie  Gumee     ("Hiawatha's          i 

Childhood")      35617 
Then  the  Little  Hiawatha      ("Hiawatha's  Childhood")       J 

(See  Pan  and  His  Pipes,  "The  Songs  of  Hiawatha.") 

Let  us  hear  the  story  of  the  home  of  Hiawatha  told  in 

song.    Can  you  tell  how  many  singers  there  are?     (Play 

By  the  Shores  of  Gitchie  Gumee  at  end  of  first  paragraph, 

page  73.)  By  the  shores  of  Gitchie  Gumee, 

By  the  shining  Big-Sea-Water, 
Stood  the  wigwam  of  Nokomis, 
Daughter  of  the  Moon,  Nokomis. 
Dark  behind  it  rose  the  forest, 
Rose  the  black  and  gloomy  pine-trees, 
Rose  the  firs  with  cones  upon  them; 
Bright  before  it  beat  the  water, 
Beat  the  clear  and  sunny  water, 
Beat  the  shining  Big-Sea-Water. 

Did  you  ever  see  an  Indian  cradle?  Why  did  the  grand- 
mother call  Hiawatha  "Little  Owlet?" 

This  is  the  song  Grandma  Nokomis  sang  to  him.  Play, 
Ewa-Yeal— 35617 

What  were  Hiawatha's  little  candles?  What  did  the 
Indian  call  them?  Play,  Wah-wah-taysee — 35617 

Our  next  song  will  tell  us  how  Hiawatha  learned  many 
things  that  boys  of  to-day  would  like  to  know  about,  too. 
(Play  Then  the  Little  Hiawatha.} 

Then  the  little  Hiawatha 
Learned  of  every  bird  its  language, 
Learned  their  names  and  all  their  secrets, 
How  they  built  their  nests  in  summer, 
Where  they  hid  themselves  in  winter, 
Talked  with  them  whene'er  he  met  them, 
Called  them  "Hiawatha's  chickens." 
Of  all  beasts  he  learned  the  language, 
Learned  their  names  and  all  their  secrets, 
How  the  beavers  built  their  lodges, 
Where  the  squirrels  hid  their  acorns, 
How  the  reindeer  ran  so  swiftly, 
Why  the  rabbit  was  so  timid, 
Talked  with  them  when'er  he  met  them, 
Called  them  "Hiawatha's  brothers." 

«»  140  *o» 


STORIES 

What  grown-up  does  not  envy  little  children  their  joy- 
ous citizenship  in  the  magic  realm  of  Never-Never-Land? 
There  wondrous  things  befall  one  endlessly  and  quite 
without  rhyme  or  reason.  There  the  brave  hero  is  sure 
to  marry  the  lovely  princess,  and  disaster  as  swiftly  and 
surely  overtakes  the  wicked  giant.  It  is  the  land  of  deli- 
cious freedom  from  the  complicated  laws,  sordid  ambitions, 
and  sad  disillusionments  of  the  adult  Land-of-Matter-of- 
Fact. 

Here  we  have  some  of  the  most  famous  stories  of  the 
fairy  world,  and  teachers  and  children  will  delight  to  renew 
acquaintance  with  such  world-famed  personages  as  Red 
Riding  Hood,  Goldilocks,  Jack  and  the  Beanstalk  and  Cin- 
derella— the  ever-new  old  tales  related  with  charming 
freshness  in  the  spirit  of  complete  sympathy  with  the 
little  people. 

Chicken  Little— 35262 

All  little  people  love  the  story  of  the  fateful  journey 
of  Chicken  Little  and  his  friends. 

The  following  is  a  suggestion  for  dramatization  by  the 
entire  class  in  their  seats:  .  .  .  "a  gooseberry  dropped 
on  his  head"  .  .  .  (raise  right  arm  high  over  head  with 
motion  of  dropping  gooseberry).  "Run,  run,  run!" 
(Make  fingers  scamper  across  desk  tops  from  right  to  left. 
Repeat  for  each  "Run,  run,  run!")  "The  sky  is  falling!" 
(Arms  high  over  head,  hands  vigorously  shaken.)  "Oh,  I 
saw  it  with  my  eyes"  .  .  .  (forefingers  on  eyes)  .  .  . 
" I  heard  it  with  my  ears "  .  .  .  (forefingers  touch  ears). 
(Repeat  as  these  recur.)  .  .  .  "And  part  of  it  fell  on  my 
tail"  .  .  .  (slide  right  hand  down  left  arm  to  left  hand). 
.  .  .  "He  was  strutting  along"  .  .  .  (children  sit  up 
very  straight).  "Ducky  Lucky  waddling  along"  .  .  . 


MUSIC     APPRECIATION 


(sway  bodies  from  side  to  side).  "Turkey  Lurky  swelled 
himself  up"  .  .  .  (pupils  sit  very  erect,  shoulders  well 
back,  faces  frowning1)  •  "He  smiled  with  pleasure"  .  .  . 
(children  rub  hands).  "Why  are  you  so  frightened?" 
(Children  look  frightened.)  "Then  Foxy  Loxy  led  Turkey 
Lurky,"  etc.  (Count  on  fingers  of  left  hand  with  right 
forefinger.)  "  Hut  Foxy  Loxy  was  the  only  one  ever  to 
come  out  again."  (Pupils  shake  right  forefinger  in  time 
with  the  spoken  words.) 


Cinderella 

Jack  and  the  Beanstalk 

We  pity  the  boy  or  girl  who  has  not  rejoiced  with  Cin- 
derella in  her  victory  over  the  cruel  stepmother  and  proud 
sisters,  or  who  has  not  shuddered  with  Jack  during  his 
visits  to  the  home  of  the  Giant  who  lived  at  the  top  of  the 
beanstalk.  These  two  tales  have  long  stood  the  test  of 
time,  quickening  the  imagination  and  broadening  the  sym- 
pathies of  many  generations  of  children.  It  is  a  pleasure 
to  hear  them  told  naturally  and  with  proper  expression  by 
this  young  reader.  Sally  Hamlin's  stories  should  be  heard 
often  by  the  children,  not  only  for  the  sake  of  the  story, 
but  to  improve  expression  by  letting  the  pupils  hear  part 
of  a  story,  and  then  finish  it  in  their  own  words.  These 
stories  also  lend  themselves  readily  to  dramatization. 

The  Dog  and  the  Kitty  Cats—  35643 

This  tells  how  the  Big  Black  Dog  tried  to  frighten  the 
Mother  Cat  and  the  Kitty,  and  how  like  the  big  coward 
that  he  was  he  ran  away  when  the  brave  Mother  Cat 
showed  him  that  she  was  not  afraid.  Did  you  ever  know 
a  big  boy  like  the  Big  Black  Dog?  This  is  a  very  simple 
little  story,  obviously  easy  to  dramatize. 


STORIES 

The  Duel— 18685 

This  is  chosen  from  Eugene  Field's  delightful  little 
collection  of  lyrics  for  children,  Love  Songs  of  Childhood. 
The  story  tells  how  the  gingham  dog  and  the  calico  cat 
had  a  terrible  fight,  which  ended  only  when  "they  ate 
each  other  up!" 

Now,  what  do  you  really  think  of  that? 

The  old  Dutch  clock  it  told  me  so, 
And  that  is  how  I  came  to  know. 

Epaminondas  and  His  Auntie — 35636 

"How  many  boys  and  girls  have  made  mistakes 
because  you  didn't  know  how  things  ought  to  be  done? 
I  am  sure  none  of  you  ever  made  such  very  foolish  mistakes 
as  the  little  colored  boy  did  whose  story  we  are  going  to 
hear." 

This  "Southern  nonsense  tale"  appeals  very  strongly 
to  children's  love  of  anticipating  "what  comes  next." 
They  will  listen  with  keenest  appreciation  for  the  old 
Mammy's  "You  ain't  got  de  sense  you  was  bo'hn  wiv, " 
inevitably  recurring  after  each  ludicrous  mistake. 

The  Fox  as  Herdsman — 35293 

This  is  the  story  of  the  little  old  woman  who  sought  a 
herdsman  for  her  flocks  of  sheep  and  goats  and  herds  of 
cows.  And  why  the  bear  and  the  wolf  wouldn't  do,  and 
how  clever  Reynard  secured  the  position,  and  then  ate  up 
all  the  animals.  How  did  the  fox  acquire  the  white  tip 
to  his  tail  which  he  has  worn  ever  since? 

The  Gingerbread  Boy— 35418 

With  its  refrain  of  "I'm  a  Gingerbread  Boy,  I  am, 
I  am.     I  can  run  from  you,  I  can,  I  can!"  and  with  the 
«»  143  <*» 


MUSIC    APPRECIATION 


thrilling  finish  of  the  Gingerbread  Boy  when  he  at  last 
meets  the  fox,  this  is  one  of  the  most  popular  stories  for 
little  people. 

The  speaker  furnishes  an  exceptionally  good  model 
for  the  pupils'  imitation. 

Goldilocks  and  the  Three  Bears— 35262 

Little  Goldilocks  has  been  an  ideal  heroine  of  the  child 
world  for  many  generations.  With  her  long  golden  curls 
and  dainty  beauty,  she  has  been  the  idol  of  boyish  hearts. 
And  with  that  sweet  feminine  curiosity  that  seems  to  have 
been  typical  of  the  race  since  the  days  of  Eve  and  Pandora, 
her  adventures  have  been  very  real  happenings  in  the 
mind's  eye  of  many  little  girls. 

The  story  is  here  charmingly  retold  from  an  old  tale 
of  Robert  Southey. 

The  Little  Bull  Calf— 35643 

This  story  teaches  the  little  ones  the  important  lesson 
of  being  careful  to  look  where  they  are  going.  It  will  add 
to  their  interest  if  individuals  are  assigned  to  play  the 
parts  of  the  Little  Bull  Calf,  the  Cow  That  Jumped  Over 
the  Moon,  the  Bull  in  the  China  Shop,  and  the  Farmer. 

Dramatization:  .  .  .  "he  liked  to  jump  very  high  and 

run  very  fast Once  he  ran  and  jumped 

into  the  lettuce  patch Once  he  ran  into 

the  fence  and  tore  his  little  coat "  .  .  .  (Motion  of  hold- 
ing up  torn  coat.)  .  .  .  "it  gave  way  and  let  him 
through  into  the  wide  field  of  the  big  world. "  .  .  ."he 
went  plump,  splash,  into  the  quaky  bog."  .  .  .  "he 

began  to  struggle  to  get  out she  ran  out 

and  began  looking  all  around they  got  him 

on  the  plank,  they  tied  him  with  the  rope,  and  they  pulled 
him  out he  went  on  his  little  tottering 

tO»     144     "» 


STORIES 

legs  to  his  mother."  It  is  interesting  to  know  that  the 
author  wrote  this  story  for  her  own  little  boy,  who  was 
sometimes  careless. 

The  Little  Jackal  and  the  Alligator— 35636 

This  is  a  charming  little  character  story  in  which  the 
stupidity  of  the  alligator  is  akin  to  that  of  the  Giant  in 
Jack  and  the  Beanstalk,  and  the  delicious  cleverness  of  the 
little  Jackal  similar  to  that  of  the  redoubtable  Jack. 

The  Little  Red  Hen— 17332 

This  is  the  story  with  its  lesson  of  self-reliance  of  the 
Little  Red  Hen  who  found  a  grain  of  wheat.  It  is  known 
to  most  first-grade  children.  Instead  of  the  Goose  and 
the  Duck,  with  which  "cast"  the  pupils  may  be  familiar, 
we  have  here  the  Cat,  the  Rat,  and  the  Pig.  The  little 
tots  will  delight  in  imitating  the  realistic  cluck  of  the  Little 
Red  Hen,  the  meow  of  the  Cat,  the  squeal  of  the  Rat,  and 
the  grunt  of  the  Pig.  Where  did  the  Little  Red  Hen  live? 
Who  were  her  friends?  This  story  may  very  easily  be 
dramatized  by  individual  pupils. 

Little  Red  Riding  Hood—* 

The  thrilling  adventures  of  Little  Red  Riding  Hood 
with  the  deceptive  old  wolf,  her  timely  rescue  by  the  wood- 
cutter, and  the  happy  restoration  of  the  beloved  grand- 
mother are  episodes  of  a  tale  that  has  long  been  an  endur- 
ing favorite  with  children.  In  the  suffering  caused  by 
Red  Riding  Hood's  disobedience  to  her  mother's  admoni- 
tion not  to  loiter,  and  in  the  just  punishment  that  is  sure 
to  overtake  such  an  evil-doer  as  the  wolf,  this  story  points 
to  a  strong  moral  that  children  readily  perceive. 


*  Record  in  preparation. 

••*"  145  taa 


MUSIC     APPRECIATION 


Mother  Goose  Jingles— 17332 

Most  children  know  Mother  Goose  before  they  enter 
school.  They  will  be  eagerly  interested  in  hearing  the 
stories  and  in  re-telling  and  in  playing  them. 

"I  wonder  how  many  boys  and  girls  know  the  stories 
a  certain  dear,  old  lady  tells.  Here  is  how  one  of  them 
begins:  'Little  Miss  Muffet'"  .  .  . 

A  pupil  completes  the  story.  Similarly  Sing  a 
Song  of  Sixpence,  Hickory  Dickory  Dock,  etc.,  may  be 
presented. 

Stop  the  record  after  Mother  Goose's  "Good  morning, 
children,"  for  their  delighted  reply  to  the  greeting.  Do  the 
same  before  the  answers  to  the  riddles,  Humpty  Dumpty, 
and  Little  Nancy  Etticoat.  The  pupils  will  be  eager  to 
hear  Mother  Goose  confirm  the  correctness  of  their 
answers. 

Little  Miss  Muffet:  .  .  .  "eating  curds  and  whey" 
(pupils  make  motions  of  eating).  "Along  came  a  spider" 
.  .  .  (left  hands  extended  at  side,  fingers  outspread  in 
imitation  of  spider's  legs;  arms  are  withdrawn  to  sides 
when  story  teller  says)  .  .  .  "sat  down  beside  her"  .  .  . 
"and  frightened  Miss  Muffet  away."  (Shuddering  mo- 
tion to  right  with  frightened  faces.) 

Sing  a  Song  of  Sixpence:  ...  "a  pocket  full  of  rye" 
(hands  make  motion  to  pocket)  .  .  .  "four  and  twenty 
blackbirds  baked  in  a  pie."  (Arms  outstretched  with 
hands  clasped  to  form  outline  of  pie.)  "  When  the  pie  was 
opened"  .  .  .  (unclasp  hands  with  fingers  outspread, 
palms  up)  .  .  .  "to  set  before  a  king"  .  .  .  (motion  of 
right  hand  setting  down  dish)  .  .  .  "counting  out  his 
money"  .  .  .  (count  money  on  desks)  .  .  .  "eating 
bread  and  honey "  .  .  .  (motion  of  eating)  .  .  .  "hang- 
up the  clothes"  .  .  .  (extend  arms  above  heads)  .  .  . 

K»     146     «» 


STORIES 

"  snipped  off  her  nose  "  .  .  .  (with  quick  motion  take  nose 
between  first  and  second  fingers  of  right  hand). 

Hickory  Dickory  Dock:  ..."  mouse  ran  up  the  clock" 
.  .  .  (both  hands  raised  with  fingers  in  motion  to  imitate 
climbing  of  mouse ;  or  left  hand  imitates  a  running  mouse 
while  right  arm  at  side  imitates  swinging  pendulum). 

Baa,  Baa,  Black  Sheep:  Let  half  of  the  class  represent 
the  sheep,  and  the  others  Mother  Goose.  .  .  .  "Yes, 
sir,  yes,  sir"  .  .  .  (sheep  nod  heads  affirmatively)  etc. 

The  Night  Before  Christmas— 35418 

"Twas  the  night  before  Christmas,  when  all  through  the  house 
Not  a  creature  was  stirring,  not  even  a  mouse." 

The  children  of  three  generations  have  loved  this 
wonderfully  vivid  poetic  account  of  the  coming  of  St. 
Nicholas,  and  wistfully  wondered  whether  it  might  not 
be  their  good  fortune  some  Christmas  Eve  similarly  to 
catch  a  glimpse  of  the  good  old  Saint. 

Have  the  pupils  listen  for  the  sound  of  the  reindeers' 
hoofs,  and  the  cheery  whistle  of  St.  Nick. 

Pancake  Story— 35293 

This  is  a  version  of  the  story  of  the  Gingerbread  Boy. 
The  children  will  welcome  their  familiar  friends  Henny 
Penny,  Cocky  Locky,  and  Ducky  Lucky.  Pancake  sets 
out  from  the  home  of  the  Good  Man  and  the  Good  Woman 
and  the  Seven  Hungry  Children  upon  a  journey  of  hair- 
breadth escapes,  until  he  meets  Piggy  Wiggy,  who,  clever 
for  once,  gobbles  up  poor  Pancake.  "Now,  that  Pancake 
can  go  no  further;  so  this  tale  can  go  no  further  either." 

The  Raggedy  Manl1R27, 
Our  Hired  Girl        J18J7( 

Every  American  child  should  know  these  complemen- 
tary   poems    of    Riley's    about    two    very    characteristic 
«>o  147  taa 


MUSIC    APPRECIATION 


national  types :  the  kindly,  honest,  jack-of -all-trades  handy 
man  about  the  place;  and  the  institutional  hired  girl 
of  the  old  days,  autocratic  yet  big-hearted  monarch  of  the 
kitchen. 

Dear  to  any  boy  or  girl  would  be  such  a  Raggedy  Man 
and  Elizabeth  Ann.  What  thrilling  stories  one  can  tell, 
and  what  custard  pie  the  other  can  make !  Simple,  whole- 
souled  Americans  they  are,  whom  every  boy  and  girl  will 
be  the  better  for  meeting. 

Sugar  Plum  Tree— 18599 

This  poem,  closing  to  the  accompaniment  of  dreamy 
strains  on  the  harp,  is  especially  suitable  for  the  Rest 
Period.  What  lullaby  is  heard? 

Three  Billy  Goats  Gruff— 17198 

This  story  proves  a  great  favorite  with  all  children. 
It  is  from  popular  Norse  tales,  which,  like  the  old  fables 
of  ^Esop  and  Mother  Goose,  never  grow  old,  and  still 
serve  to  point  effectively  many  a  moral  in  story  form. 

What  is  a  Troll?    How  different  from  a  Brownie? 

Ask  the  pupils  if  they  can  account  for  the  difference  in 
the  bridge's  "trip,  trap,  trip,  trap!"  as  the  three  goats 
pass  over  it. 

The  Three  Little  Pigs— 18685 

This  classic  will  ever  be  a  prime  favorite  with  the  little 
people.  What  child  does  not  wriggle  in  delighted  sym- 
pathy when  the  Little  Pigs  reply  to  the  Wolf's  demands 
for  admittance  to  their  little  houses,  "No,  no,  by  the  hair 
of  my  chinny,  chin,  chin!"  And  how  one  holds  his  breath 
io»  148  •*• 


DRAMATIZATION 


when  the  Wolf  says,  "Then  I'll  huff,  and  I'll  puff,  and  I'll 
blow  your  house  in!"  Then  there  is  the  thrilling  adven- 
ture of  the  churn,  and  the  grand  climax  when  the  wicked 
Wolf  tumbles  headlong  into  the  pot  which  the  cleverest  of 
all  the  Little  Pigs  prepared  for  his  reception. 

The  story  is  told  in  an  inimitable  manner  by  the  child 
elocutionist,  Sally  Hamlin. 

Wynken,  Blynken,  and  Nod— 18599 

This  story  is  from  Eugene  Field's  A  Little  Book  of 
Western  Verse.  The  personal  application  of  the  little  story 
which  each  child  will  make  through  the  last  stanza  is  one 
of  the  chief  charms  of  this  delightful  "Dutch  Lullaby." 
The  incidental  harp  music  which  accompanies  the  last  few 
lines  adds  effectively  to  the  sleepy-time  atmosphere. 

What  melody  do  you  hear? 

DRAMATIZATION  OF  STORIES  IN  MUSIC 

Hunt  in  the  Black  Forest— 35324 

CAST  :  The  Bell-Ringer — Station  him  in  a  corner  which 
represents  the  church.  He  plays  the  chimes  as  they  occur 
in  the  story  by  alternately  raising  his  clenched  hands  to 
represent  the  pulling  of  the  bell-ropes. 

Master  of  the  Hounds. 

Huntsmen. 

The  Blacksmith — His  shop  may  be  the  corner  opposite 
the  Bell-Ringer's  church.  Provide  him  with  a  hammer  and 
something  to  give  the  sound  of  an  anvil,  such  as  an  old 
horseshoe. 

The  Fox — Select  obscure  place  to  represent  his  den. 
He  is  roaming  at  large  at  the  opening  of  the  story. 

The  Hounds. 

TIME:  Early  morning. 

ayi    149    fjfn 


MUSIC     APPRECIATION 


Soon  after  the  beginning  of  the  story  the  Master  of  the 
Hounds  sounds  his  horn  (hands  raised  to  mouth  to  repre- 
sent holding  of  the  hunting  horn),  the  Bell-Ringer  rings 
matins  in  the  nearby  village  church,  and  the  Huntsmen 
assemble. 

Meanwhile  the  Fox,  hearing  the  horn,  flees  wildly  up 
and  down  the  aisles  and  hides  in  his  den. 

The  Huntsmen  gallop,  the  Hounds  take  up  the  trail 
and  run  around  the  room,  until  the  Master  of  the  Hounds 
sounds  the  signal  for  the  stop  at  the  Blacksmith's.  There 
the  Blacksmith  works  at  his  anvil,  humming  a  song  during 
the  latter  part  of  this  work.  The  Huntsmen  are  strolling 
around  outside  the  shop  (except  one,  whose  horse  is  being 
shod)  until  the  Master  of  the  Hounds  sounds  the  signal  for 
the  continuation  of  the  hunt. 

The  Huntsmen  and  Hounds  finally  pursue  the  Fox  to 
his  den,  where  he  is  captured  and  brought  out  amid  the 
cheers  of  the  Huntsmen. 

Little  Hunters— 18598 

The  Little  Hunters  invites  a  similar  dramatization,  but 
is  more  siriiple  than  Hunt  in  Black  Forest. 

Midsummer-Night's  Dream     (Overture) — 35625 

CHARACTERS: 

Duke  of  Athens:  A  very  dignified  little  boy  who  can 
march  in  a  stately  manner. 

Hippolyta:  Betrothed  to  the  Duke,  and  for  whose 
wedding  the  trades-people  are  preparing  a  play.  A  little 
girl  must  be  chosen  who  can  be  a  real  queen  and  march 
with  the  Duke. 

Attendants  on  Duke:  Any  number  of  children  who 
follow  the  Duke. 

«»»  150  *o° 


DRAMATIZATION 


Lovers:  Two  couples  walking  hand  in  hand. 
TRADES-PEOPLE  :  Quince,  a  carpenter 
Snug,  a  joiner 

Flute,  a  bellows-mender 

•  i   ^  boys 

Snout,  a  tinker 

Starveling,  a  tailor 
Bottom,  a  weaver 

Titania:  Queen  of  the  Fairies. 

Fairies:  Any  number  of  girls,  attendants  of  Titania. 

Oberon:  King  of  the  Fairies. 

Puck:  Attendant  of  Oberon,  and  always  doing  his 
bidding. 

SCENE:   A  forest  near  Athens. 

The  music  should  be  carefully  presented  before 
attempting  to  dramatize.  The  story  should  not  be  told 
in  detail;  that  will  come  later  in  English  work.  Present 
only  what  is  necessary  for  an  intelligent  working  out  of 
the  Overture,  and  such  episodes  as  will  especially  appeal  to 
children.  Added  interest  may  be  secured  by  a  few  prop- 
erties and  costumes.  A  crown  of  gold  paper  for  the 
Duke  and  the  various  tools  suggested  by  occupation  of 
the  trades-people  will  work  wonders  in  stimulating  the 
imagination. 

Before  the  music  begins,  all  characters  must  be  in 
place  in  different  parts  of  the  room,  cloak-room,  and  hall, 
ready  to  listen  for  their  particular  theme.  The  children 
soon  learn  the  different  themes  and  take  their  cue  for 
entrance  from  the  music.  The  fairies  are  in  a  group  in  the 
center,  kneeling  as  if  asleep,  and  at  the  fourth  magic 
chord  they  slowly  rise  to  toes  and  are  no  longer  little  girls, 
but  fairies.  They  dance  about  until  the  last  note  of  the 

«»  151   «"- 


MUSIC    APPRECIATION 


"A  MIDSUMMER-NIGHT'S  DREAM"  WITH  THE  MENDELSSOHN 

MUSIC  ON  THE  VlCTROLA 

fairy  music  ends,  when  they  go  back  to  the  side  or  rear  in 
a  group,  awaiting  the  next  strain  of  the  fairy  music. 

As  the  fairy  music  ends,  the  procession,  made  up  of  the 
Duke,  Hippolyta,  and  their  attendants,  advances  to  a  place 
where  two  chairs  have  been  placed  for  the  Duke  and 
Hippolyta,  who  seat  themselves  while  the  attendants  form 
a  group  about  them.  The  lovers  are  waiting  to  enter  as 
soon  as  the  "Duke  theme"  is  finished.  They  stroll  about, 
two  by  two,  then  go  to  rear  and  lie  down  to  sleep.  As 
soon  as  they  are  asleep,  Oberon  sends  Puck  in  to  drop 
some  magic  into  the  eyes  of  the  lovers. 

The  trades-people  now  enter  and  rehearse  their  play. 
(Eight  notes  on  one  tone  played  by  bassoon  is  entrance 
cue  for  trades-people.)  For  suggestions  for  action  see 
Act  III  of  the  play  in  Lamb's  Tales  of  Shakespeare. 

The  light  quick  fairy  music  is  again  heard,  the  trades- 
people leave,  as  the  fairies  enter.  A  place  is  made  for 
their  queen  to  lie  upon.  The  fairies  dance  about  until 
the  queen  is  asleep,  then  one  by  one  they,  too,  fall  asleep. 


DRAMATIZATION 


Puck  comes  hurrying  in,  being  sent  by  Oberon  to  put 
some  magic  in  Titania's  eyes.  All  begin  to  awaken  very 
slowly  during  the  magic  chords. 

Narcissus^l5052  or  17472 

CHARACTER:  Narcissus,  a  little  boy  from  a  Greek  fairy 
tale. 

SCENE:  A  beautiful  forest  in  Greece. 

PROPERTIES:  Each  child  will  enjoy  making  for  himself 
a  bow  out  of  a  twig  and  string. 

(Tell  the  story  of  Narcissus,  having  all  the  children 
play  it  as  best  they  can  while  seated.  Then  select  a  few 
children  to  run  about,  just  as  Narcissus  did,  and  "change 
into  a  flower  and  fall  dead  as  the  stem  is  broken. ") 

"Narcissus  had  no  little  boys  and  girls  to  play  with,  so 
he  amused  himself  by  shooting  birds.  This  was  many, 
many  years  ago.  Do  you  think  Narcissus  had  a  gun? 
No,  he  had  a  bow  and  arrow.  Let  us  shoot  with  a  bow 
and  arrow.  We  shall  hold  up  our  bow  and  count  three 
and  shoot  on  four.  We  shall  look  all  around,  counting 
four,  and  then  shoot  again  as  before."  (Continue  until 
the  end  of  this  theme.) 

"Narcissus  becomes  very  thirsty  and  goes  to  the  pool 
to  get  a  drink.  Do  you  think  that  he  will  find  a  cup  to 
drink  from?  No,  he  will  lie  down  and  drink  from  his 
hand.  When  he  leans  over  what  does  he  see  in  the  pool? 
Yes,  his  own  image.  He  has  no  mirror  and  has  never  seen 
his  owrn  picture  so  does  not  know  he  is  seeing  only  himself. 
He  thinks  that  it  is  another  little  boy,  and  he  reaches  into 
the  water  to  try  to  get  him  out,  for  he  so  much  wants  a 
little  boy  to  play  with.  What  happens  when  Narcissus 
reaches  in  the  water?  Yes,  when  he  moves  the  water 
with  his  hand  the  picture  disappears.  Narcissus  feels  very 
«"  153  «» 


MUSIC     APPRECIATION 


badly.  He  thinks  the  little  boy  does  not  want  to  play 
with  him  and  has  gone  away. 

"He  waits  a  minute  and  then  returns  to  the  pool. 
And  what  does  he  see?  Yes,  the  little  boy  is  there  again 
and  Narcissus  is  so  happy.  He  tries  once  more  to  get  the 
little  boy  out,  for  he  thinks  this  little  boy  is  so  beautiful. 
Not  being  able  to  get  him  out  Narcissus  feels  so  badly  that 
he  lies  down  by  the  side  of  the  pool  and  dies.  (Music 
changes  to  a  repetition  of  the  first  theme.)  He  is  at  once 
turned  into  a  beautiful  flower,  which  we  now  call  the 
narcissus.  How  many  know  the  narcissus  flower?  It 
would  be  very  nice  to  have  a  narcissus  flower  growing  in 
our  school  room,  wouldn't  it?  Let  us  listen  to  the  third 
part  of  the  music.  It  is  like  the  first. 

"We  shall  now  be  narcissus  flowers,  and  our  arms  will 
be  long  leaves  which  sway  in  the  breeze.  What  happens 
when  a  flower  with  a  very  slender  stem  sways  back  and 
forth?  It  breaks.  If  we  listen  very  carefully  we  shall 
hear  when  the  stem  breaks,  and  our  stems  must  break  at 
the  same  time.  What  happens  to  a  flower  when  the  stem 
breaks?  We  must  pretend  to  die  as  the  flower  does. " 

Of  a  Tailor  and  a  Bear— 18598 

CAST:  The  Tailor,  The  Bear,  The  Keeper,  Group  of 
People  outside  the  Tailor's  Shop. 

As  the  music  begins,  the  Tailor  is  seated  in  his  shop 
sewing  and  pressing.  Suddenly  a  great  commotion  is 
heard  outside.  The  Tailor  looks  up  wondering  what 
is  happening,  but  the  noise  subsides  and  he  resumes 
his  \vork.  He  hears  the  commotion  again  and  the  Bear 
appears  at  the  door,  walking  on  all  fours  clumsily. 

The  Bear  draws  closer  and  frightens  the  poor  Tailor 
terribly  with  his  growls.  Knowing  that  bears  love  music 
«»  154  «» 


DRAMATIZATION 


just  as  little  children  do,  the  tailor  seizes  the  violin,  hastily 
tunes  it,  and  plays  music  to  which  the  Bear  dances,  rearing 
upon  his  hind  legs.  The  Bear  stops.  In  his  terror  the 
Tailor  again  tunes  his  violin  and  plays,  and  again  the  Bear 
dances  and  growls  his  pleasure. 

At  length  the  Keeper  comes  and  takes  the  Bear  away 
(again  on  all  fours).  The  Tailor  is  so  happy  that  he 
draws  a  deep  sigh  of  relief  and  begins  a  merry  whistle. 

Have  the  Bear  time  his  growls  accurately  with  the 
record,  as  also  the  Tailor's  tuning  of  his  violin. 

Rhythm  Medley  Nos.  1  and  2—18548 

It  is  suggested  that  the  class  be  organized  into  a 
circus  parade,  each  section  performing  as  its  appropriate 
rhythm  is  played.  MARCH  THEME:  A  Band — The  leader 
keeps  time  with  his  baton,  the  others  playing  trombones, 
cymbals,  and  drums.  SKIPPING  THEME:  The  Clowns  skip 
and  perform  amusing  antics.  FLYING  BIRD  THEME:  The 
Trained  Dogs  and  Monkeys  dance  along  and  turn  in  time 
with  the  waltz  rhythm.  WHEELBARROW  MOTIVE:  The 
Elephants  (bodies  bent  forward)  walk  lumberingly  along, 
swinging  trunks  simulated  by  extending  arms  full  length, 
palms  touching,  and  swinging  arms  and  bodies  from  side 
to  side.  PLAIN  SKIP:  The  Ponies.  Tip-ToE  MARCH: 
Ladies  on  "high  school"  or  trained  horses  prance  along 
with  mincing  steps.  MARCH:  Another  Band.  (No.  2) — 
MARCH:  A  Band  on  a  high  wagon.  TROTTING,  RUNNING, 
AND  HIGH -STEPPING  HORSES:  Cowboys,  Indians,  and 
Soldiers.  SKIPPING  THEME:  The  Clowns.  MARCH:  The 
Calliope — Have  a  little  wagon  for  the  calliope,  in  which  a 
boy  sits  and  plays  on  the  back  of  a  kindergarten  chair 
to  represent  the  keyboard  of  the  calliope.  Another  boy, 
as  the  horse,  draws  the  cart. 

<*»  155  **» 


THE  BOYHOOD  OF  HANDEL 

About  two  hundred  and  thirty-five  years  ago  George 
Frederick  Handel  was  born  in  a  city  named  Halle. 
Strangely  enough,  another  baby  boy  named  Johann  Bach, 
who  was  to  become  as  famous  as  George  Frederick,  was 
born  in  the  very  same  year. 

Handel  showed  his  love  for  music  when  only  a  baby. 
He  would  listen  with  delight  when  the  church  bells  rang, 
and  he  crowed  with  joy  when  he  heard  songs  called 
"chorales"  sung  in  the  church  towers  on  festival  days. 
He  tried  to  play  tunes  on  toy  trumpets  and  whistles,  and 
when  just  a  little  boy  organized  his  playmates  into  an 
orchestra.  George's  father  disapproved  of  this,  because 
he  wanted  his  son  to  be  a  lawyer,  so  he  took  the  toy  instru- 
ments away.  He  wouldn't  even  allow  any  music  in  his 
house,  and  he  took  George  out  of  school  so  that  he  would 
not  be  taught  music. 

Now,  George  had  a  kind  aunt  who  sympathized  with 
his  love  for  music.  So  she  helped  him  smuggle  an  old 

«»  156  **> 


BOYHOOD    OF    HANDEL 


harpsichord  into  the  attic.  Late  at  night,  after  everyone 
had  gone  to  bed,  little  George  would  slip  out  of  bed,  climb 
to  the  attic,  and  play  softly  on  his  beloved  harpsichord. 
One  night  the  family  discovered  his  secret,  and  many 
years  later  an  artist  painted  the  beautiful  picture,  which 
tells  how  the  little  white-clad  boy  was  surprised  as  he 
played  beautiful  music  late  in  the  night. 

One  day  George's  father  had  to  go  to  the  Court  of  the 
Duke,  and  the  little  fellow  begged  to  be  allowed  to  go,  too. 
But  his  father  wouldn't  take  him.  So  George  ran  after 
the  carriage,  and  when  his  father  discovered  him  running 
along  all  covered  with  dust,  he  felt  sorry  for  him,  and  took 
him  into  the  carriage. 

When  they  reached  the  court,  George  wandered  into 
the  chapel,  where  he  saw  a  fine,  big  organ.  He  coaxed  the 
organ-blower  to  let  him  play.  The  Duke  happened  to  hear 
the  music  as  he  was  strolling  in  the  garden.  He  was 
delighted;  so  he  gave  George  some  money,  and  advised  his 
father  to  have  him  trained  to  be  a  great  musician. 

After  Handel  returned  home,  he  took  lessons  from  the 
cathedral  organist.  The  boy  progressed  so  very  fast  that 
soon  his  teacher  said  that  his  pupil  knew  more  than  he  did. 

Soon  George's  father  died.  George  then  went  to  the 
big  city  of  Hamburg,  where  he  played  in  a  theatre  orches- 
tra. By  this  time  he  was  a  young  man,  tall,  stout,  and  dig- 
nified, with  a  pleasant  smile  when  in  good  humor.  But 
Handel,  like  some  little  boys  to-  day,  sometimes  had  a  very 
bad  temper. 

Later  Handel,  who  was  now  recognized  as  one  of  the 
world's  greatest  musicians,  went  to  England,  where  he 
delighted  the  King  by  composing  some  very  beautiful 
music,  which,  because  the  King  first  heard  it  as  he  was  riding 
in  a  boat  on  the  river,  was  called  "The  Water  Music." 
uen  157  *°* 


THE  BOYHOOD  OF  MOZART 


Over  a  hundred  and  fifty 
years  ago  a  boy  was  born 
who,  even  while  he  was  yet 
only  a  very  little  lad,  was  to 
become  one  of  the  world's 
very  greatest  musicians.  The 
boy's  name  was  Wolfgang 
Amadeus  Mozart.  His  father 
was  himself  a  musician,  one 
of  the  kindest  and  most  lov- 
ing of  fathers,  and  he  was 
very  good  to  little  Wolfgang 
and  his  sister,  Anna,  whom 
her  brother  affectionately 
called  "Nannerl."  Never 
were  two  children  happier. 

While  Wolfgang  was  still  a 

very  little  boy,  a  dear  friend  STATUE  OF  THE  YOUNG 
of  his  father's,  named  Schachtner,  used  to  come  often  to 
visit  the  happy  family,  bringing  with  him  his  trumpet, 
which  made  little  Mozart  dance  for  joy,  because  the  big 
man  played  the  most  delightful  games  to  music.  How 
Wolfgang  loved  the  big,  jolly  playmate!  He  would  say 
to  him  again  and  again,  "Dost  thou  love  me,  Herr  Schacht- 
ner?" And  he,  with  a  roguish  twinkle  in  his  eye,  would 
tease  the  little  boy  by  answering,  "No,  I  love  thee  not." 
When  Mozart  was  three  years  old,  his  father  began  to 
teach  Nannerl  to  play  the  piano.  (The  word  piano  is  sub- 
stituted for  harpsichord.)  Then  his  great  delight  was  to 
stand  by  the  piano  and  pick  out  "thirds"  for  himself. 


BOYHOOD     OF     MOZART 


Father  Mozart  was  amazed  and  delighted;  so  he  soon 
began  to  give  Wolfgang  lessons,  too.  He  learned  so  fast 
that  very  soon  he  was  able  to  play  a  minuet  after  practic- 
ing it  only  half  an  hour;  and  when  he  was  five  years  old, 
he  began  to  compose  music  himself. 

One  day  Father  Mozart  found  his  little  son  writing 
away  very  busily  indeed.  Noticing  that  he  was  making 
some  big  blots  on  the  paper,  the  elder  Mozart  asked  the 
boy  what  he  was  writing.  "  I  am  writing  a  concerto ;  it  is 
nearly  finished,"  said  the  wonderful  boy. 

When  Wolfgang  was  six,  his  father  decided  to  take 
Nannerl  and  her  brother  to  the  great  city  of  Munich  and 
have  them  play  together  before  the  king.  The  king  and 
all  who  heard  the  children  play  were  astonished  and  de- 
lighted, and  good  Father  Mozart  was  so  pleased  at  the 
success  of  his  children,  especially  the  little  boy,  that  he 
decided  to  take  them  to  Vienna,  where  the  Emperor  and 
Empress  lived.  The  kindly  Empress  Maria  Theresa  or- 
dered that  the  children  should  come  to  the  palace  and 
play  for  her. 

Now,  most  boys  and  girls  would  be  frightened  if  asked 
to  play  for  a  great  empress  in  a  wonderful  palace.  But 
little  Wolfgang  didn't  know  what  shyness  meant.  When 
he  saw  the  Empress,  he  went  to  her  and  put  up  his  sweet 
face  to  be  kissed,  and  then  sat  on  her  knee  as  if  he  were 
her  own  little  boy.  Then  he  asked  for  Mr.  W'agenseil, 
who  was  a  famous  composer  of  music,  and  when  he  came, 
the  little  Mozart  said  to  him,  "  Sir,  I  am  going  to  play  one 
of  your  concertos.  You  must  turn  over  the  pages  for  me." 
And  the  wonderful  boy  played  the  difficult  music  perfectly ! 

Then  an  amusing  thing  happened.  Wrhen  Wolfgang 
went  to  receive  the  thanks  of  the  Empress,  he  slipped  and 
fell  on  the  glassy  floor.  The  little  Princess  Marie  Antoi- 
«»  159  «» 


MUSIC    APPRECIATION 


nette,  a  pretty  little  girl  just  his  own  age,  very  kindly 
helped  him  to  his  feet,  and  the  little  boy  said  to  her, 
"You  are  good;  I  will  marry  you." 

When  Mozart  went  home  from  Vienna,  he  carried  with 
him  as  a  present  a  violin,  of  which  he  was  very  proud 
indeed.  Soon  a  famous  violin  player  came  to  make  the 
family  a  visit,  and,  to  the  amazement  of  all,  the  wonderful 
boy  asked  permission  to  play  his  violin  with  his  father  and 
the  famous  violinist.  Father  Mozart  never  supposed  for 
a  minute  that  little  Wolfgang  could  play  the  difficult  music 
on  the  violin.  Imagine  his  surprise  and  delight  when  the 
marvelous  boy  played  his  part  without  a  single  mistake! 

Such  a  sunny-tempered,  happy  boy  he  was!  And  what 
jolly  times  the  boy  and  his  ever-kind  father  had  together! 
They  had  such  fun  playing  games,  always  to  music. 
Every  night  before  Wolfgang  went  to  bed,  he  and  his 
father  sang  a  little  duet  of  nonsense  rhymes.  And  that 
was  only  one  of  the  amusing  things  they  did  to  music. 

When  Mozart  was  still  but  a  little  boy,  he  learned  to 
play  a  great  church  organ,  and  the  good  organist  was  so 
amazed  at  the  boy's  playing  that  he  wrote  on  the  organ 
Mozart's  name  as  a  remembrance  of  this  "wonder  god." 

Wolfgang  and  Nannerl  visited  many  other  great  cities 
where  they  played  so  wonderfully  in  public  that  people 
couldn't  do  enough  to  honor  them.  But  they  weren't 
spoiled  a  bit,  which  shows  what  very  good  children  they  were. 

By  the  time  Mozart  was  ten  years  old,  people  consid- 
ered him  the  greatest  musician  in  the  world.  Before  he 
died,  while  still  only  a  young  man,  he  composed  some  of  the 
most  beautiful  music  that  man  ever  made,  music  which  boy 
and  girls  love  to  hear  again  and  again  as  long  as  they  live. 

NOTE — For  boyhood  of  Stradivarius,  see  Pan  and  His  Pipes:     "The 
Violin  Makers  of  Cremona,"  pages  49  to  53. 

u»  160  «» 


THE  BOYHOOD  OF  MENDELSSOHN 

A  little  over  a  hundred  years  ago,  there  was  born  in  the 
city  of  Hamburg  a  baby,  who,  while  he  was  still  but  a 
little  boy,  was  to  compose  some  of  the  world's  most  beauti- 
ful music. 

His  parents  named  him  Felix,  which,  you  know,  means 
"happy,"  and  never  was  a  boy  better  named,  for  never  did 
any  one  have  a  happier  childhood.  Little  Felix's  father 
was  well-to-do,  so  he  and  his  brothers  and  sisters  had 
everything  that  could  make  children  happy. 

Before  Mendelssohn  was  three  years  old,  the  family 
moved  to  Berlin,  where  Felix  often  played  for  company, 
always  most  willingly.  Sometimes  he  played  duets  with 


POETZELBERGER  MENDELSSOHN  AND  His  SISTER 

«»  161  «» 


MUSIC    APPRECIATION 


his  sister,  Fanny,  who  was  also  a  fine  pianist.  As  he  grew 
older,  his  skill  as  a  musician  increased,  and  the  fame  of  his 
genius  spread  far  and  wide. 

Felix  was  the  most  affectionate  child  you  can  imagine, 
and  he  especially  loved  his  sister,  Fanny,  with  whom  he 
liked  to  play  all  sorts  of  jolly  games.  One  day  they  were 
in  the  garden  playing  that  Felix  was  a  bold  brigand  chief 
and  Fanny  a  poor  captive  girl  whom  he  was  carrying  away 
to  the  mountains.  Suddenly  the  sport  was  interrupted  by 
the  appearance  of  their  music  teacher,  Mr.  Zeller,  who  told 
the  delighted  little  boy  that  he  was  going  to  take  him  to 
Weimar  to  see  the  great  poet,  Goethe. 

Goethe  asked  the  sweet-faced  lad  to  play  for  him,  be- 
cause he  knew  that  already  Felix  had  become  famous  as  a 
wonderful  boy  pianist.  After  he  had  listened  with  the 
greatest  pleasure  to  the  lovely  music,  he  laid  his  hand  on 
Mendelssohn's  head,  and  said,  "You  have  given  me  an 
hour  of  pleasure.  What  can  I  do  for  you?" 

"Sir,"  replied  Felix,  "I  should  be  glad  if  you  would  give 
me  a  kiss."  Never  did  a  boy  have  a  sweeter,  sunnier  dis- 
position, and  you  may  be  sure  that  in  return  everyone 
loved  the  lad  dearly. 

When  Mendelssohn  was  seventeen  years  old,  he  and 
his  brothers  and  sisters  acted  the  charming  fairy  play  of 
the  great  Shakespeare,  A  Midsummer-Night's  Dream, 
and  for  the  performance  Felix  composed  the  most  wonder- 
ful fairy  music. 

You  can  tell  from  his  picture  as  a  man  that  Mendels- 
sohn must  have  been  a  beautiful  child.  And  indeed  he  was, 
with  his  delicate,  almost  girlish  face,  golden-brown  curls, 
and  laughing  eyes  and  mouth. 

When  he  and  Fanny  were  still  very  young,  they  had  to 
get  up  every  morning  at  five  to  practice  and  study;  so 


BOYHOOD     OF    MENDELSSOHN 


you  see  they  worked  as  hard  as  they  played.  Felix  began 
to  compose  music  when  he  was  only  twelve  years  old. 
When  he  was  fifteen,  his  brown  curls  were  cut  off,  and  he 
began  to  wear  long  trousers  like  a  man.  He  loved  out-of- 
door  life,  as  his  music  clearly  tells  us.  He  liked  to  ride 
horse-back,  and  to  swim.  Indeed,  he  loved  the  sea,  and 
once  said,  "I  think  I  love  the  sea  almost  better  than  the 
sky!" 

Be  sure  to  hear  and  learn  to  love  the  music  of  this 
happy  boy — the  music  of  youth,  of  spring,  of  fairies,  and 
flowers. 


CALENDAR  OF  SPECIAL  DAYS  FOR  THE 
SCHOOL  YEAR 

The  school  calendar  with  its  holidays  and  festive 
occasions  offers  rich  opportunity  for  the  presentation  of 
supplementary  and  correlative  music.  Special  programs 
for  any  of  these  days,  or  pageants,  may  be  easily  arranged. 
The  marches  (for  list  see  Graded  School  Catalogue), 
dances,  both  folk  and  interpretative,  may  be  found  in 
abundance  in  the  rhythmic  section. 

For  birthdays,  special  music  of  the  country  or  time 
in  which  the  personage  lived,  may  be  adapted.  Flag 
drills,  in  costume,  to  any  of  the  marches  and  some  of  the 
dances,  will  grace  the  patriotic  programs,  while  flower 
drills  (with  bird  records  added)  will  enliven  many  of  the 
other  special  days  listed. 


ST.  PATRICK'S  DAY 
«»  1(54  ««• 


SPECIAL    DAYS 


SEPTEMBER  2      —  Birthday  of  Eugene  Field  (1850-1895) 
SEPTEMBER  14    •  —  Anniversary  of  Star-Spangled  Banner 
OCTOBER  7          —Birthday  of  James  Whitcomb  Riley  (1852-1917) 
OCTOBER  12        —  Columbus  Day 
OCTOBER  31        —  All  Hallowe'en 
NOVEMBER  6      —  Birthday  of  Sousa  (1856-        ) 
NOVEMBER          —  Thanksgiving  Day  —  last  Thursday. 
DECEMBER  17     —Birthday  of  John  Greenleaf  Whittier  (1807-1892) 
DECEMBER  25     —  Christmas 

JANUARY  27        —Birthday  of  Mozart  (1756-1791) 
JANUARY  31        —Birthday  of  Schubert  (1797-1828) 
FEBRUARY  12     —  Birthday  of  Abraham  Lincoln  (1809-1865) 
St.  Valentine's  Day 

nr    ,     ,  0 

Week  of  Song 


FEBRUARY  14 

FEBRUARY  17-23  1 

FEBRUARY  18-24  j 

WEEK  INCLUD-    f  Birthday  of  George  Washington  (1732-1799) 

ING  FEB.  22    I  Birthday  of  Handel  (1685-1759) 
FEBRUARY  27     —Birthday  of  Longfellow  (1807-1882) 
MARCH  17  —  St.  Patrick's  Day 

MARCH  or  APRIL  —  Easter 

APRIL  2  —Birthday  of  Hans  Christian  Andersen  (1805-1875) 

APRIL  —  American  Bird  Day  (Second  Friday) 

APRIL  19  —  Patriot's  Day 

APRIL  26  —  Arbor  Day  (in  some  States) 

MAY  1  —  May  Day 

MAY  —  Mother's  Day  (Second  Sunday) 

MAY  30  —Memorial  Day 

JUNE  14  —  Flag  Day 

JULY  4  —  Independence  Day 


SALUTE  TO  THE  FLAG 

von    165    "" 


CARD  SUGGESTED  FOR  INDEXING  RECORDS 

FRONT 


Title 


No. 


yocal  _  Instrumental  /  Recitation    Bird 
Accompaniment 
*  Mooda 


Deeoriptive 


Pure 


*  "  Moods"  refers  to  the  emotional  temper  of  the  music,  whereas  "  character  "  refers  rather 
to  tempo,  dynamics,  kind  or  style. 


CARD  SUGGESTED  FOR  INDEXING  RECORDS 

FRONT 


Titles 


Ho 


Compose  r 


Author 


Nationality  of  Composer 


i/tsi 


Artist 


Vocal  Instrumental  Recitation  Bird 


Acconrpaniment 


Character 


Descriptive 


Pure 


Ways  to  use; 


J* 


CARD  SUGGESTED  FOR  INDEXING  RECORDS 

FRONT 


NO. 


Author 


Nationality  of 


t^ 


Artist 


Claris  Csht 


Vocal Instrumental  V*  Recitation Bird 


Accompaniment 


Descriptive 


^ 


Pure 


ways  to 


'  J/ 


>1 


e^£   .J)* 


INDEX  OF  RECORDS  USED 


Page 

Adeste  Fideles.32,  95,  97,  101,  106 
Ah!  Vous  Dirai-Je,  Maman.58,  61 

AH  Through  the  Night 77,  80, 

81,  109 
Amaryllis...  45,  101,  105,  107,  131 

America 51 

Andante  (Beethoven  Fifth) 80 

Andante  (Haydn  Surprise) 80 

At  the  Brook.  .  .67,  75,  77.  91,  92, 
101,  106,  109,  119,  136 

Aubade  Provencale 137 

Au  Clair  de  la  Lune  .  .  .55,  61,  101 
Autumn  Lullaby 51 

Baa,  Baa,  Black  Sheep. 50,  53,  87, 
90,  91,  147 

Baby  Dear 50 

Badinage 77 

Ballet  Music  from  "Rosamunde"  . 
77,  80,  108 

Ballet  Music  from  "William  Tell" 
37,  106,  109 

Bean  Porridge  Hot 50 

Bee,  The.  .67,  75,  87,  89,  101,  103, 

106,  109,  120,  123,  136 

Berceuse  from  "Jocelyn"  .  77, 80,  81 

Bird  Chorus 121,  134 

Birds  in  the  Night. .  .:J1,  77,  80.  81 

Birds  of  the  Forest. .  .75,  101,  105, 

136 

Blacksmith,  The 50,  51  52, 

Blue  Bird 50,  136 

Boat  Song 54 

Bobby  Shafto 50 

Bobolink 136 

Brook,  The 119 

Brooklet,  The 119 

Bunny,  The 50,  82,  86,  136 

Buttercups .50.  51,  92,  95,  136 

Butterfly,  The. .  .75,  101,  108,  136 

Bylo 50 

By  the  Brook 67,  75,  101,  109. 

119,  136 

By  the  Shores  of  Gitchie  Gumee 
140 


Page 
Canary  and  Thrush  Duet .  135,  136 

Canzonetta 37 

Capricietto 137 

Capricieuse 77 

Carrousel 44 

Cat-Tails 50,  91,  93,  136 

Cavatina  (Raff) 109 

Cherry  Sweet 50 

Chicken,  The 136 

Chicken  Little 141,  142 

Chimes  of  Dunkirk 44 

Christmas  Hymns 80,  101 

Cinderella.  . 142 

Cinquantaine,  La. .  .37,  41,  45,  80, 
96,  97, 101, 104, 105, 107, 109, 116 

Clayton's  Grand  March 41 

Colombia  Waltz 45 

Come    Thou    Fount    of    Every 

Blessing 31,  101,  104 

Corn  Soldiers.  .  .  .45,  ,50  110,  111, 

136 

Country  Dance 41 

Cradle  Song  (Brahms) 32,  54 

Crooked  Man 53 

Cuck-Coo  Clock .51,  96,  99 

Cuckoo  Music 51,  136 

Cupid  and  the  Butterfly.  .  .37,  82, 
84,  85 

Cupid's  Garden 80,  101,  104 

Cygne.  Le. .  .66,  75.  77,  80,  95,  96, 
97,  108,  109,  136 


Daffodils 51,  136 

Dance  Characteristic.  41,103,  105 

Dance  of  Greeting 44,  107 

Dance  of  the  Happy  Spirits — 

Orpheus   37,  77,  101,  104 

Dance  of  the  Song  Birds 136 

Dancing  in  May Ill 

Dancing  Song 112 

Dans  les  Bois 75 

Danse  Chinoise 75,  106 

Danse  des  Mirlitons. .  .75.  77,  106, 

137 


169 


Page 

Dawn  of  Love.  .  .96,  97,  101,  10.5, 
106,  116 

Dew  Drop,  A 50,  136 

Diddle,  Diddle,  Dumpling 50 

Did  You  Ever  See  a  Lassie ....  43 
Dog  and  the  Kitty  Cats,  The. .  142 

Don  Giovanni  (Menuett) 45 

Dorothy.  .  .37,  41,  45,  87,  90,  105, 
106,  108 

Dorothy  Three-Step 101 

Drink  To  Me  Only  With  Thine 

Eyes 80 

Drowsy  Maggie 127 

Dublin  Jig  Medley 127 

Duel,  The \ 143 

Epaminondas  and  His  Auntie. .  143 

Eros  Waltz 41,  106 

Evening  Chimes 75,  77 

Ewa-Yea! 53,  140 

Fais  Dodo,  Colas 56,  61 

Farandole 44,  131 

Feast  of  Lanterns 50 

Fedora  Gavotte 80,  101,  109 

Fire,  The 50 

First  of  May,  The 43 

First  Nowell 32,  101,  106 

Flower  Song 137 

Fountain,  The.  .75,  101,  106,  120, 
127,  136 

Four  Leaf  Clover 120 

Fox  as  Herdsman,  The 143 

France — National  Air 130 

French  Folk  Songs. .  55,  56,  57,  58, 
59,  60,  61,  131 

Frere  Jacques 60 

Froggies'  Swimming  School.  .  .136 
From  an  Indian  Lodge .  75, 108, 137 
Funiculi-Funicula . .  .  .  128 


Gavotte  (Aletter) 80 

Gavotte  (Gossec).  .45,  80,  101,  109 
Gavotte  (Gretry). .  .37,  41,  45,  80, 
*  101,  103,  104.  106 
Gavotte  (Mozart)  41,  101,  104,  137 
Gavotte  (Popper) 37,  107 


Page 
Gavotte  from  "Mignon".  .41,  106, 

108 

Georgie  Porgie 50 

Giants,  The 45,  50 

Gingerbread  Boy 143,  144 

Gingerbread  Man 51 

Gloria  Patri 127 

Go  to  Sleep,  Dolly 50 

Golden  Trumpet  Schottische. . .  37, 
41,  101,  105,  108 
Goldilocks  and  the  Three  Bears 

144 

Goldfinch,  The 136 

Good-Night     and     Christmas 

Prayer 51 

Gustaf's  Skal 44 

Hand  Organ . 51 

Happy  Days  March 105 

Happy  Land.  .31,  87,  91,  101,  104 
Hark!  Hark!  the  Lark.. 54,  77,  122 
Haydn  Military  Symphony  37, 107 
Hear  the  Music  of  the  Drum ...  50 

Her  Blanket 53 

Here  We  Go  Round  the  Mul- 
berry Bush 43 

Hey,  Diddle,  Diddle 50 

Hiawatha's  Childhood 54,  137 

Hickory  Dickory  Dock  .  .  146,  147 

High-Stepping  Horses.  .41,  72,  73, 

75,  82,  86,  101,  104 

Hopp,  Mor  Annika 44 

Horses  or  Reindeer  Running. .  .72, 

73,  75 

Household  Hints 51 

How  Birds  Sing 134 

How  D'ye  Do,  My  Partner.  .  .  .43 
How  Lovely  are  the  Messengers  80 
How  Many  Miles  to  Babylon.  .50, 

87,  88 

Humoresque.  ...77,  80,  101,  104, 
105,  107,  109 
Humoresque  (With  Bird  Voices) 

136 

Humpty  Dumpty 146 

Hungry  Windmill 51 

Hunt   in   the   Black   Forest..  136, 
149,  150 


170  «*> 


Page 

Hush,  My  Babe  ...  31,  77,  82,  84, 
101,  103,  106 

Idyll.  .  .80,  101,  104,  105,  106,  107 

If  With  All  Your  Hearts.  .80,  81, 

108,  109 

I  Love  Little  Pussy 50,  136 

II  Pleut,  il  Pleut,  Bergere 56 

In  a  Clock  Store.  ..  .69,  70,  71,  75, 

101,  103,  105,  107 

In  a  Gondola 129 

In  Lilac  Time 41,  87,  88,  108 

In  the  Belfry 45,  50,  111,  112 

In  the  Park— Tenth  Regiment. 41, 
101 

Indian  Lament 137 

Irish  Lilt 127 

I  See  You 44,  45,  106 

Isoline  Ballet  Valse 80,  109 

Italy— Royal  March 127 

Jack  and  the  Beanstalk 142 

Jack-in-the-Pulpit 45,  50,  110, 

112,  136 

J'ai  du  Bon  Tabac 59,  61 

Jap  Doll 51,  53 

Jolly  General  March 41,  105 

Jolly  is  the  Miller 44 

Joy  of  the  Morning 54,  77 

Katydid 136 

Kinderpolka 44 

Klappdans 44 

La  Bonne  Aventure 59,  61 

La  Casquette  du  Pere 59,  60 

La  Cinquantaine.  .  .37,  41,  45,  80, 
96,  97, 101, 104, 105, 107, 109, 116 

La  Mere  Michel 53,  57,  61 

La  Mist'  en  1' Aire 53,  60 

Largo  (Handel) 137 

Largo — New  World  Symphony. 80 

Lassies'  Dance 44 

Leaves'  Party 51,  52,  136 

Le  Pont  d'  Avignon 58,  130 

Let  Us  Chase  the  Squirrel  .43,  111 

Liebesfreud 80 

Linden  Tree.  .  .  .54 


Page 

Lithuanian  Folk  Song 54 

Little  Birdie 50,  130 

Little  Bit  of  Heaven,  A 126 

Little  Bo-Peep 50,  53 

Little  Boy  Blue 54 

Little  Bull  Calf 136,  144,  145 

Little  Christmas  Shoes 51 

Little  Dustman 54 

Little  Firefly 136 

Little  Hunters.  .  .73,  75,  101,  103, 
104,  105,  115,  150 

Little  Jack  Homer 50,  83 

Little  Jackal  and  the  Alligator 

136,  145 

Little  Miss  Muffet 146 

Little  Nancy  Etticoat    146 

Little  Red  Hen,  The 136,  145 

Little  Red  Riding  Hood 145 

Little  Shoemaker 50,  52 

Lo,  Here  the  Gentle  Lark.. 54,  122 

Looby  Loo 43 

Lott'  ist  Tod 44 

Lullaby  (Brahms).  .80,  91,  93,  107 
Lullaby  (Bredt- Verne) .  .101,   104, 

106 

Lullaby  from  "Erminie".  .  .31,  77, 
80,  107,  109,  120 

Malbrouck 58 

Mammy's  Song 54 

Marche  Militaire 77,  104,  105 

March  Miniature  77,  104,  105,  106 

March  of  the  Toys..  69,  75,  101, 

103,  107 

Marseillaise 130 

Ma's  Little  Pigs 45 

May  Breeze 137 

Mazurka 45,  107 

Marguerites 51,  136 

Medley  of  National  Airs 130 

Melody  in  F.  .81,  92,  93,  101.  104, 

122 

Menuett  (Don  Giovanni) 45 

Menuett  (Gluck) 41,  106,  108 

Menuett  (Handel) 80 

Menuett  (Mozart).  .  .41.  106,  108, 

137 
Menuett  (Valensin) 37 


Page 

Merry  Christmas 51 

Merry      Makers     from      "Nell 

Gwyn" 37,  80 

Midsummer-Night's      Dream — 

Overture..  77,  150,  151,  152,  153 
Military  Escort  March. 37,  41,  101 
Minuet  (Boccherini) .  .80,  101,  108 

Minuet  (Paderewski) 45,  109 

Minuet         (Haydn         Military 

Symphony) 37,  107 

Minuet  in  G  (Beethoven) .  .45,  80, 

99,  101,  104,  105,  107,  109,  124 

Minute  Waltz.  .68,  75,  77,  87,  88, 

101,  104,  106 

Mocking  Bird,  The  (Whistling)  136 
Mocking  Bird,  The  (Xylophone) 

136 

Moment  Musical.  .41,  77,  80,  103, 
105,  108,  124 

Mother  Goose  No.  1 82,  83 

Mother  Goose  Jingles.  .  .    146,  147 

Mother  Goose  Lullaby Ill 

Mother's  Prayer 50 

Morning  (Grieg) 77,  137 

Motive  for  Running 41 

Motive  for  Skipping.. .  .41,  82,  86, 
101,  107 

Mr.  Chicken 50 

Mr.  Duck  and  Mr.   Turkev.  .50, 
92,  94,  95,  136 

Mr.  Squirrel 50,  136 

Muffin  Man,  The 43 

Musette  (Gluck) 37,  80,  108 

My  Old  Kentucky  Home. 80,  101, 

108 
My  Shadow 51,  53 

Naming  the  Trees.  .50,  87,  90,  110, 

136 

Narcissus. .  .80,  101,  106,  108,  136, 
153.  154 

Nazareth 32 

Needle's  Eye 43 

Nell  Gwyn — Merry  Makers. 37,  80 
Nell  Gwyn — Pastoral  Dance ...  80 
New  World  Symphony — Largo .  80 

Night  Before  Christmas 147 

Nightingale,  The 50.  136 


Page 

Nocturne  in  E  Flat  (Chopin) .  .  77, 

121 

Noel 80,  118,  137 

Nutcracker  Suite 108 

Oats,  Peas,  Beans 43 

Of  a  Tailor  and  a  Bear .  .  74,  75,  92, 

93,  94,  101,  104,  107,  109,  114, 

154,  155 

Old  Black  Joe 80,  81 

Old  Chanticleer 50,  53,  136 

Old  Folks  at  Home 80,  81,  101 

Old  Mother  Hubbard 50 

On  the  Bridge 101 

On  the  Wing  Galop. 37,  41,  101, 
104,  105,  109 

On  Wrings  of  Song 137 

Orpheus  —  Dance  of  Happy 

Spirits 37,  77,  101,  104 

Our  Flag 50,  51,  122 

Our  Hired  Girl 147,  148 

Our  Little  Girls 45 

Overture  —  Midsummer-Night's 

Dream.  .  .77,  150,  151,  152,  153 
Owl,  The 51,  136 

Pancake  Story 147 

Pastoral     Dance     from     "Nell 

Gwyn" 80 

Pastoral  Symphony  from  "Mes- 
siah"  77,  80,  137 

Patriotic  Airs  of  the  Allies 128 

Patriotic  Medley  March  ..41.  72, 
75,  77 

Pickaninny's  Lullaby 54 

Pirouette 80,  101 

Pit-a-Pat 50.  53 

Poet's  Vision 101 

Polonaise  Militaire 77 

Pop  Goes  the  Weasel 41 

Poppy  Lady 50,136 

Poppies 136 

Popule  Meus 127 

Postilion,  The 51 

Praeludium  (Jiirnefeldt)  ...  77,  80, 

101.  106 

Pretty  Tulip 50,  136 


172 


Page 

Promenade  en  Bateau .56,  61 

Pull  a  Cherry 50 

Pussy  Cat 50,  136 

Raggedy  Man 147,  148 

Rain  Song 50.  136 

Reap  the  Flax 127 

Reconciliation  Polka 80,  104 

Red,  White  and  Blue 51 

Rhythm  Medley  No.  1 .  .41,  92,  95, 

101,   104,   108,   155, 

Rhythm  Medley  No.  2.  .41,  92,  95, 

101,   104,   108,   155 

Ride  a  Cock  Horse 50,  82,  86 

Rigaudon 80,  108,  109 

Riggety  Jig.  .  .50,  51,  52,  111,  112 

Rigodon — Rameau 80 

Rinnce  Fada 127 

Robin  Red  Breast 51,  136 

Robin's  Return 136 

Rock-a-bye,  Baby.  .31,  50,  74,  75, 
77,  87,  88,  89,  101,  103,  104,  109 

Rondino 80,  101 

Round  and  Round  the  Village.  .43 

Royal  March — Italy 127 

Running  Reindeers .  72,  73,  75,  101 

Sacrifice,  The 137 

Salut  d' Amour 80,  108 

Sandman,  The 54 

Savez-vous  Planler  les  Choux.' 

56,  57,  61 

Scale  Exercises 50 

Scherzo  (Dittersdorf  J 37,  80 

See-Saw 45,  50,  51,  106 

See-Saw,  Margery  Daw ....  50,  52 
See,  the  Conqu'ring  Hero  Comes 

77,  80,  81,  108,  137 
Serenade    (Moszkowski) .  .32,    82, 
85,  101,  104,  105 
Serenade    (Moszkowski)    (With 

Bird  Voices) 124 

Serenade  (Schubert) ..  80,  101,  108, 

109 
Serenade  (Titl) . .  .80,  101,  107,  109 

Serenade  (Tosti) 80 

Serenade  (Pierne)  .77,  80,  101,  106 


Page 

Seven  Jumps 44 

Seven  Pretty  Girls 44 

Shepherd's  Dance 80 

Shepherd's  Hey 80 

Shoemaker's  Dance 44,  107 

Silent  Night.  .32,  77,  80.  101,  107, 

137 

Simple  Confession 137 

Sing  a  Song  of  Sixpence.  .50,  146, 

147 

Singing  School 45,  50,  111 

Six  Little  Puppies 50,  136 

Skipping  .  41,  82,  86,  101,  107,  155 

Sleep,  Baby,  Sleep 50 

Sleighing  Song 50,  51 

Sleep,  Little  Baby  of  Mine 54 

Slumber  Boat. . . .  51,  54,  123 

Slumber  Sea 54 

Slumber  Song 51 

Soldier  Boy 43,  51 

Soldiers 50 

Song  of  Iron 51,  96,  98 

Song  of  Autumn 122 

Song  of  a  Nightingale 121 

Song  of  a  Nightingale  No.  2. .  .  135 

Song  of  a  Sprosser 135 

Song  of  a  Thrush 120,  135 

Songs  of  Our  Native  Birds  No.  1 

123,  134 
Songs  of  Our  Native  Birds  No.  2 

123,  134 
Songs  and  Calls  of  Our  Native 

Birds  No.  3 116,  135 

Songs  and  Calls  of  Our  Native 

Birds  No.  4 116,  135 

Sounds  of  the  Forest  Part  1 ...  119, 

135 
Sounds  of  the  Forest  Part  2 ...  1 19, 

135 

Souvenir  (Drdla) 80,  104,  108 

Spanish  Dance  (Sarasate) 80 

Spanish  Gypsy 54 

Spinning  Song.  .  .  74,  75.  101,  104. 
106,  114,   115 

Spring  Song  (Mendelssohn). .  .  .80, 

101,  105,  107,  118,  137 

Spring  Voices. . .  .75,  119,  121,  137 

Squirrel,  The 45,  110,  113,  136 


173 


Page 

St.  Patrick's  Day 127 

Star  Child,  A 51 

Star-Spangled  Banner 122 

Standard  Hearer  March 41 

Sugar  Plum  Tree 148 

Swallows,  The 54 

Swan,  The .  .  66,  75,  77,  80,  95,  96, 
97,  108,  109,  136 

Swanee  River 96,  98,  105 

Sweet  and  Low.  .  .80,  81,  107,  137 

Sweet  Pea  Ladies 50,  136 

Swing  Song 50 

Sylvia  Ballet— March ....  101,  105 

Sylvia  Ballet— Pizzicato .  .  .37,  41, 

77,  80,  82,  86,  101,  103,  123 

Tantoli 130 

Tarantella 37,  101,  129 

Teddy  Bears'  Picnic.  .37,  69,  75, 
82,  85,  101,  103 
Theme  for  High  Stepping  Horses 

41,  72,  73,  75,  82,  86,  101,  104 

Theme  for  Skipping.41,  82, 86, 101, 

155 

Three  Billy  Goats  Gruff 148 

Three  Little  Pigs,  The.  .  .  148,  149 
Then  the  Little  Hiawatha ....  140 

Tick-Tock 50,  51 

Tiddlely-Winks    and    Tiddlely- 

Wee 50 

To  a  Wild  Rose  (Celesta) .  .32,  77, 

80,  92,  95,  101, 104, 105, 108,  121, 
136,    137 

To  Spring  (Grieg) 118,  137 

Tracks  in  the  Snow 50,  136 

Traumerei 32,  77,  80,  101,  106 


Page 

Trempe  Ton  Pain 57,  61 

Tulips 50,  51,  136 

Twilight 75,  77 

Twinkle,  Twinkle 50 

Valse  Bluette 106,  107 

Voices  of  the  Woods 136 

Violet,  The 50,  136 

Violets 51,  136 

Wah-wah-taysee 53,  136,  140 

Waltz  in  C  Sharp  Minor 108 

Waltzing  Doll. 75,  77, 101,  104, 107 

Wedding  of  the  Winds 45 

What  Does  Little  Birdie  Say.  .50, 

136 

Whirlwind,   The.  .74,   75,   77,   95, 

96,  101,  106,  107,  108,  136,  137 

Whispering   Flowers.  .  75,  77,  106, 

108 

Wild   Horseman .  .  37,   45,   73,   75, 

82,  86,  101,  103,  108,  114 

William  Tell  Ballet  Music.  .  .  .37, 

106,  109 

Will-o'-the-Wisp 75,  108 

Wind  Amongst  the  Trees.  .  .  .107, 
124,  136,  137 

Winds,  The 50 

Windmill,  The 45,  50,  111 

Wind  and  the  Sun 136 

Wise  Bird,  The 50,  136 

Woodpecker,  The 51,  136 

Wren,  The  .  54,  75,  87,  91, 101, 105, 

107,    136,    137 

Wvnken,  Blvnken,  and  Xod. .  .149 


174 


NUMERICAL  LIST  OF  RECORDS  USED 


16001 

17472 

17917 

18598 

35625 

64198 

64841 

16136 

17510 

17928 

18599 

35636 

64201 

16387 

17513 

17937 

18622 

35643 

64202 

67201 

16474 

17521 

18639 

35644 

64204 

67896 

16835 

17532 

18015 

18648 

35657 

64218 

16969 

17548 

18017 

18649 

35664 

64220 

70026 

16974 

17567 

18018 

18655 

64264 

70031 

16995 

17568 

18049 

18664 

45052 

64267 

70053 

17580 

18074 

18665 

45053 

64281 

17002 

17581 

18076 

18684 

45057 

64324 

72165 

17004 

17596 

18083 

18685 

45058 

64373 

72166 

17035 

17600 

18127 

45061 

64374 

17039 

17625 

18142 

35007 

45085 

64392 

74052 

17084 

17646 

18164 

35155 

45096 

64437 

74088 

17086 

17668 

18208 

35225 

45102 

64530 

74100 

17104 

17674 

18216 

35228 

45107 

64542 

74164 

17121 

17681 

18223 

35241 

45113 

64543 

74180 

17143 

17686 

18243 

35262 

45116 

64576 

74183 

17158 

17691 

18253 

35293 

45158 

64577 

74196 

17159 

17693 

18276 

35324 

45163 

64600 

74202 

17160 

17719 

18296 

35397 

64605 

74294 

17174 

17735 

18314 

35418 

55049 

64614 

74336 

17198 

17761 

18323 

35420 

55054 

64644 

74366 

17208 

17776 

18330 

35448 

55092 

64670 

74384 

17212 

17777 

18338 

35470 

62660 

64705 

74387 

17216 

17784 

18361 

35493 

64706 

74395 

17327 

17840 

18368 

35499 

64074 

64734 

74444 

17330 

17842 

18389 

35530 

64076 

64758 

74539 

17331 

17844 

18418 

35532 

64103 

64760 

74567 

17332 

17868 

18440 

35595 

64121 

64766 

74583 

17368 

17869 

18448 

35608 

64139 

64784 

17454 

17897 

18548 

35617 

64197 

64792 

88073 

175 


FLUTE 

I 

PICCOLO  I 


PERCUSSION 


THE    INSTRUMENTS    OF    THE 

ORCHESTRA    BY   SIGHT, 

SOUND  AND  STORY 


A  series  of  eighteen  charts  14"  x  22' 
showing  the  instruments  in  absolute  accu- 
racy of  color  and  detail:  two  double-face 
records  which  give  the  tone  color  of 
every  one  in  appropriate  e.xcerpts;  and 
an  accompanying  booklet  giving  a 
full  description  and  history  of  the  in- 
struments. These  three  units  together 
offer  for  the  first  time  in  history  the 
practical  means  of  a  complete  study  of 
the  instruments  of  the  orchestra. 

The  microscopic  accuracy  of  detail 
which  has  been  observed  in  the  prepara- 
tion of  each  chart  enables  older  students 
to  analyze  the  physical  properties  of  each 
instrument  with  complete  clarity.  Their 
attractive  coloring  and  size  make  in- 
stant appeal,  and  even  little  children 
may  receive  a  general  impression  of  the 
appearance  of  such  instruments  as  they 
may  hear. 

Consult  any  Victor  Dealer,  or  write 
for  full  information  to  the 

Educational  Department 

VICTOR   TALKING    MACHINE    CO. 

Caniden,  New  Jersey,  U.  S.  A. 


XYLOPHONE 


BELLS 


TRUMPET 


VIOLONCELLO 


VIOI./N 


Victor  Educational  Literature 

FOR  FREE  DISTRIBUTION 

A  Graded  List  of  Victor  Records  for  Children 
in  Home  and  School.  A  catalogue  of  280  pages, 
featuring  nearly  one  thousand  records,  carefully  classi- 
fied and  graded,  with  illustrations  and  descriptive  notes. 

The  Victrola  in  Physical  Education,  Recreation, 
and  Play.  For  Folk  Dances,  Calisthenics,  Drills, 
Marches,  etc.  63  pages  (illustrated). 

The  Victrola  in  Rural  Schools  gives  material, 
information  and  instruction  for  general  use  in  the 
rural  school.  110  pages  (illustrated). 

The  Victrola  in  Americanization.  A  compre- 
hensive booklet  on  the  service  of  music  in  winning 
the  foreign  born  to  true  American  principles  and 
ideals.  40  pages  (illustrated). 


FOR  SALE  BY  DEALERS 

Pan  and  His  Pipes,  and  Other  Tales  for 
Children,  by  Katherine  D.  Gather.  Ten  stories  of 
Music  in  Myth  and  History.  A  suggestive  list  of  Victor 
Records  illustrates  each  story.  84  pages  (illustrated). 

What  We  Hear  in  Music,  by  Anne  Shaw  Faulkner. 
Illustrated  book  of  442  pages.  A  complete  course  in 
Music  History  and  Appreciation.  120  lessons  exem- 
plified at  every  point  by  Victor  Records. 

Victrola  Book  of  the  Opera,  by  S.  H.  Rons. 
Illustrated  book  of  436  pages,  giving  complete  story 
of  100  Grand  Operas,  with  list  of  all  Opera  Records. 
The  most  complete  and  satisfactory  method  of  study- 
ing the  Operas. 

Copies  may  be  obtained  from  any  Victor  Dealer 

For  further  information  write  to  Educational  Department 
Victor  Talking  Machine  Co.,  Camden,  \.  J.,  U.  S.  A. 


Victor  Talking  Machine  Company,  Cainden, 

Printed   September,    1920 

4905 — RTA — 8-21-20 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


A     001  059  485     1 


MUSIC 
LIBRAR1 

MT 

920 
Vbbmu 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


MAk  a  - 


JUIY  [  J   ,975 
MDS--OI 

5  1977 


DEC 


-  1977 
2  1581 


MUS-UB 


- 


MUS4II 


Form  L9-Series  4939 


FEB22  1990 


